Los Angeles Times' Scores

For 7,414 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Howl's Moving Castle
Lowest review score: 0 Awakened
Score distribution:
7,414 movie reviews
  1. Exhausting before its first few minutes of whip-pans, smash cuts, coarsely self-referential jokes and on-screen text visuals is over, the teen horror-spoof Detention is a patience-trying exercise first, energetic genre-jumble comedy second.
  2. Like Freeway, the lovable stray dog at the center of this very teary comedy, Darling Companion has lost its way. Even the marquee ensemble anchored by Diane Keaton, Dianne Wiest, Kevin Kline and Richard Jenkins is not enough to rescue this motley mutt of a movie.
  3. The film feels overstuffed and overcooked, as if the filmmaker were trying to get too much out all in one go.
  4. In its portrait of a Restless City the film is strangely inert and feels like the work of image-makers, not storytellers.
  5. The film's single saving grace is Turner, who channels that legendary Catholic guilt like there is no tomorrow.
  6. Writer-director John Chuldenko stretches a sitcom episode premise to feature-length breaking point in Nesting.
  7. Rather than the engaging enlightenment of the source, the film becomes bloated by confusion.
  8. The film is ultimately a stodgy, overblown and repetitive slog.
  9. There's likely an audience for the cloying and dizzying hip-hop dance flick Battlefield America, but even the most forgiving viewers may feel like they've been underestimated - and underserved.
  10. Given the subject matter, an exercise in delicacy and restraint was unlikely, but it's too bad that the film's concept is way more entertaining than what has ended up on-screen.
  11. Starts imploding long before the massive asteroid hurtling toward Earth is due to deliver annihilation.
  12. Life, however, cannot be lived entirely on stage, and once the characters have to take off their thongs and return to their real lives, the film goes nowhere that is either interesting, involving or surprising.
  13. Dramatically thin, formally uninspired and thematically weak, The Last Ride really goes nowhere.
  14. Director/co-writer Adam Sherman's Bukowski-lite character study is one of those exercises in masculine self-pity and glib misogyny that frustrates because of its shortsightedness.
  15. Like a drug that starts with a rush and ends with a headache, Total Recall is too much of a good thing.
    • 43 Metascore
    • 40 Critic Score
    360
    Hopkins' character is the most fully realized in the movie, complete with a monologue that the actor makes work, even if its carpe diem message-mongering is as unconvincing as most everything else in 360.
  16. Starts out as an agreeable, playfully off-color comedy of contemporary domestic manners and loses course to become a slack, tacky slapstick.
  17. A movie with a location named Snake Island should deliver more fun than this.
  18. Not only is the story dreamed up by producer Ahmet Zappa even odder than the title indicates, its execution gets increasingly irritating as the film goes on.
  19. It is a disappointment coming from writer-director David Cronenberg, who has proved such a master at mind games. Cronenberg is perhaps too faithful to the book. The topic is provocative and certainly timely, but the film never achieves the incisive power of his best work, "A History of Violence" for one. Even an A-list ensemble that includes Juliette Binoche, Samantha Morton and Paul Giamatti can't save it.
  20. Why Stop Now? feels trapped in the limbo between comedy and drama where many indies gamely venture, but from which few emerge with any resonance.
  21. For a movie about moonshine, something so imaginatively made, mood-altering and once violently sought-after, it goes down way too blandly.
  22. Long on atmosphere and short on sense, The Tall Man becomes less gripping as it grows more ridiculous.
  23. It is billed as a comedy, but it's really a lipstick-smeared drunken tragedy. The humor is so caustic you won't know whether to laugh or cry.
  24. It's a snooze.
  25. The film is only slightly more boorish than the racy cult hit was on telly and would probably not be worth the celluloid expended were it not for the bookish, brainy Will McKenzie (Simon Bird).
    • 22 Metascore
    • 40 Critic Score
    A by-the-numbers thriller that often looks as murky as its plot.
  26. As always, Jovovich's game face is admirable - whether giving gunslinger shade or play-acting a protective mother storyline straight-outta-Cameron. But it can't be easy when all around her are line readings that recall the glory days of baroquely dull foreign-movie dubbing.
  27. There are some crowd-pleasers - but Hotel Transylvania never becomes the great monster mash that seemed in the offing.
  28. Had V/H/S been a nasty jolt of three, it might have been memorable, but at nearly two hours, the gimmick punctures a hole in itself, causing ambience bleed-out. Recommended cure: a tripod

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