Los Angeles Times' Scores

For 8,570 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Calvary
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
8,570 movie reviews
  1. Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
  2. A pleasure to look at. It's filled with fine, imaginative moves and an overarching sense of visual freedom, a feeling of play that entices us into enjoyment. But, when it comes to dialogue and story, this Sinbad apparently used up all its initiative changing its hero's ethnicity to generic Greco-Roman.
  3. Any time you're watching a film in which the statistics in the voice-over have more intrinsic drama than the protagonists' lives, you know you're in trouble.
  4. Pure, unself-conscious macho camp, but it's not like Pacino and McConaughey don't know it. They're pitching tents and romping around in the grass like Jerry Maguire on steroids.
  5. Writer-director Terry Miles' revisionist homage is a thoughtful thesis on the melodrama but a letdown in its attempt to serve as an affecting example of that genre.
  6. Fredric Dannen's reportage, which appeared in a 1992 issue of the New Yorker and serves as the film's basis, contains lurid details that leap off the page in a cinematic way. The "Dragons" script by Michael Di Jiacomo and co-director Andrew Loo preserves many, but few register on-screen.
  7. Since Ned Kelly -- which is not terrible, just too often dull -- has a no-expense-spared feel to it, this Focus Features release can be regarded only as an opportunity missed.
  8. It's the movie's slow drift toward happiness, though, when Bruce meets a widow (Diane Farr) with a sweetly razzing sense of humor that spurs a more refreshing less patently abrasive comedy from Carolla.
  9. Matthew McConaughey and Sarah Jessica Parker look and act, quite attractively, like grown-ups, and their easy rapport makes them convincing and appealing as an on-screen couple. So all throughout Failure to Launch, I found myself wishing they were in a different movie, maybe one as sophisticated as "The Philadelphia Story," which the movie references, but doesn't remotely live up to.
  10. Honest and unadorned though the film may be, it's ultimately just not that involving.
  11. Creepy and grotesque rather than terrifying. It's more distasteful than anything stronger, a sour bottle of a celebrated vintage that a gourmet like Lecter wouldn't hesitate to send back with the sommelier.
  12. Though Vanilla Sky is smoothly and professionally done, even audiences who haven't seen the original will sense there is something off in the translation.
  13. At its most provocative, it suggests a tension between spirit and flesh in the nun's maternal feelings. Rather than examine that friction, Améris pushes the narrative in predictable directions.
  14. A middling, so-so thriller about a murder investigation on an Army base, it falls to Earth somewhere between failure and success, inconclusive to the end.
  15. Air America is far from a disgrace, but it's so rare to see a film with this much panoramic verve that you want it to deliver the real goods and not this cargo-load of tinkertoy war-is-heck ironies. [10 Aug 1990]
    • Los Angeles Times
  16. Otherwise fairly routine, the film draws fear from ancient mythology and historical grudges in a way more reminiscent of Japanese horror than its American contemporaries. Had Ojeda delved into that a bit more, he could have really set the film apart.
  17. A one-man band known as Makinov — he wrote, directed, produced, shot, edited and ran sound here — has done a pretty decent job in the chills department using a simple story, small cast and largely contained location.
    • 47 Metascore
    • 50 Critic Score
    Structurally, 44 Inch Chest resembles "Reservoir Dogs"; but, without the added amusement of Tarantino's skewing of narrative time, it feels very much more like a direct adaptation of a stage play (which apparently it's not). The filmmakers do goose things up by playing with reality in the second half, but it all leads to a payoff that, while perfectly legitimate, feels limp.
  18. The regrettably titled From Prada to Nada has more in common with a slapped-together TV movie than a timeless comedy of manners.
  19. Citizen Koch is pure advocacy doc: brisk and clear-eyed, to be sure, but not likely to surprise headline-savvy moviegoers or angered progressives.
  20. Gibney and Ellwood struggle to create context for or make much sense of the vibrant hodge-podge of material that they excavated from the archives of Kesey, who died in 2001.
  21. Ball tends to slice and dice action sequences in a way that drains them of energy, and his attempts to churn up emotion fall disconcertingly flat. But he does stage a couple of effective adrenaline-pumping chases through the maze's industrial wasteland.
  22. How did something that started out so cool get so dorky?
  23. Hitler had his Leni Riefenstahl, and now Castro has his Bravo...Bravo is no Riefenstahl when it comes to persuasive mythologizing.
  24. The movie, with all its brashness and crassness, can still claim noble motives in encouraging insecure young people to seek the pop diva buried deep within.
  25. On the upside, newcomer Summer Bishil turns in a gutsy, quietly riveting performance as Jasira.
  26. Sheridan seems as conflicted as the Cahills about their virtues and failings. The underlying themes -- love, loyalty, decency, duty, honor, betrayal -- that screenwriter David Benioff will use to both bind and break this family seem to bedevil him more than inspire him this time out.
  27. Even though this is supposed to be a kindlier Van Damme vehicle, his movies couldn't exist without his trademark ability to deliver the kind of accurate, powerful kicks any World Cup team would envy. All his soulful glances notwithstanding, Timecop still depends too much on violence to make it appealing to the uninitiated or the unwary.
  28. The film is driven by a we-are-the-world connectedness, but remains a travelogue in search of a defining center. The overall impression is as fleeting as much of the imagery that flashes across the screen.
  29. As saccharine as it is disposable.

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