Los Angeles Times' Scores

For 8,181 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Intruder
Lowest review score: 0 Being Human
Score distribution:
8,181 movie reviews
  1. This skillfully made Italian heart-tugger was a success on home ground. Its star, Marco Filiberti, in an audacious writing and directing debut, has lots on his mind and much in his heart, and as a filmmaker displays a Douglas Sirkian flair for finding substance in melodrama.
  2. This film has much more to do with what goes on inside director Tim Burton's head than with any TV show, no matter how beloved. In fact, Dark Shadows is as good an example as any of what might be called the Way of Tim, a style of making films that, like the drinking of blood, is very much an acquired taste and, unless you're a vampire, not worth the effort.
  3. Leung manages to present a barrage of intriguing theories debunking our generally accepted beliefs and misperceptions about how HIV/AIDS is acquired, tested, diagnosed, defined and treated. It's a vital yet thorny approach whose inconclusiveness is bound to sadden or infuriate anyone who's lost a loved one to AIDS.
  4. You can't blame Hunt for perhaps taking on too much — at least she wrote herself a complicated role in this sorry age for front-and-center movie women — but it doesn't always make for a smooth Ride.
  5. Richard Ray Perez's documentary concerns the myth more than the man.
  6. Squanders an appealing performance from Costner.
  7. It looks as if no one bothered to deliver more than the minimum requirement of magic or artistry.
    • 26 Metascore
    • 50 Critic Score
    Tideland is equally evocative of the pastoral mystery of an Andrew Wyeth painting and the looming menace of "Psycho." The disparity is fitting, because as Tideland unfolds, it's difficult to tell if you're watching a fantasy or a horror movie, or one superimposed on the other.
  8. As it turns out, spending a couple of hours with emotionally arrested, socially moronic characters is not a whole lot more fun than spending a couple of hours with actual emotionally arrested, socially moronic people.
  9. There is something sharp, exciting and more original tucked within The Berlin File — and it is in moments a sleek, crackling film — but it all feels somehow misshapen.
  10. A film rich in atmosphere but emotionally as blunt as its title.
  11. Like Moore's film, Celsius hits too many topics with too broad a brush, resulting in yet another contribution to this campaign season's spin cycle of rhetoric.
  12. As advertised, A Knight's Tale does try to rock you. The problem is, it doesn't rock you nearly enough.
  13. The impulse to shtick it up to burlesque-level inanity is encouraged at every turn.
  14. Strictly for the very young who will find giggles in the anthropomorphic mash-ups and won't be too distracted by the predictably mawkish sitcom plot.
  15. Has to fight to hold our attention and it doesn't always succeed.
  16. There are lots of hilarious, off-the-wall incidents, and the film has a likable freewheeling spirit to go with its knockabout plot. But the film isn't as remotely funny as it means to be.
  17. Director Kevin Rodney Sullivan milks the film's one joke for all it's worth - which isn't much - before settling into the rote rhythms of a buddy picture.
  18. With two of the world's biggest stars in tow, the creators of The Devil's Own can be forgiven for figuring that nothing else really mattered. If you've got Harrison Ford and Brad Pitt, do you really need a coherent script? Unfortunately for everyone concerned, the answer is yes.
  19. Under Australian director George Miller ("Mad Max"), The Witches of Eastwick begins so promisingly. It has such smashing separate moments, so succulent a cast and so interesting a premise that watching it crumble into stomach-turning crudeness and "Poltergeist"-scale special effects is deeply painful.
  20. The teenager's journey through a nightmarish reverie presents hallucinogenic imagery that simultaneously dulls the senses and hot-wires the imagination, but it never fully engages emotionally.
  21. While it's difficult to dislike what this film tries to do, the way it does it is more problematic.
  22. A performer of formidable self-absorption, Johnston has inspired a film with the same trait, and the results are about what you might expect.
  23. A film that never quite manages to justify its existence.
  24. Guilty of squandering resources. Amusing as it goes about setting up its premise, in Witherspoon, the gifted veteran of "Election" and "Pleasantville," it has an actress willing to throw herself completely into the part to excellent effect.
  25. A dark piece of whimsy that enchants and befuddles in equal measure.
  26. [Aselton's] disregard for her male characters causes Black Rock to spiral into dudette "Deliverance."
  27. The cartoonish movie might have made for a funny half-hour short or sitcom pilot but runs out of track well before its conclusion.
  28. Danny Elfman's intense score contributes crucial energy, John Thomas' camera work is first-rate, but the ambitious Freeway ends up merely trashy.
    • 43 Metascore
    • 50 Critic Score
    The outline of a great story, but it never fills in the gaps.

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