Los Angeles Times' Scores

For 8,005 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Hurt Locker
Lowest review score: 0 21 and Over
Score distribution:
8,005 movie reviews
  1. This "Theorem" is all sizzle, zero steak.
  2. Disjointed and unfocused.
  3. The South takes another beating in Sweet Home Alabama, but that's nothing compared with the one conferred on the sweetheart personality of its pint-sized Gen. Sherman.
    • 28 Metascore
    • 40 Critic Score
    A dead-on-arrival thriller that resolutely fails to come to life.
  4. Since it's a comedy, much could be forgiven if the film was consistent in generating laughs, but the comedy is as erratic as the couple's sex life.
  5. The film strives for some type of a girl-empowerment message that equates trading one type of conformity for another with self-determination but muffs the dismount and stumbles on the landing. In other words, it fails to Stick It.
  6. The script by Richard D'Ovidio is so packed with knuckleheaded moves and ultra-obvious dialogue ("Dad, there's something wrong with this place!") that the whole enterprise proves more risible than frightening.
  7. Beowulf appears so cartoony, in fact, that the academy just put it on the short list of films to be considered for the Oscar in feature animation.
  8. Few people will be able to go along with Bolton's point of view regarding relationships between adults and underage youths, but there's no denying the writer-director, in his feature debut, has avoided sensationalism in telling this story.
  9. John Leguizamo steals the show as its sleazy trainer -- not that there's much to steal from John Schultz's joylessly schematic paycheck.
  10. A self-consciously zany dysfunctional family comedy, When Do We Eat? strains so hard to be outrageous that it sacrifices characters for caricatures. They might have had something if they'd let everybody relax, be themselves and enjoy dinner.
  11. This busy-yet-dull sequel feels like Wan robotically flexing his manipulation of fright-film signposts, an exercise more silly than sinister.
  12. There's a lot that remains unclear about the powers and abilities of the creatures in Skinwalkers, largely robbing the film of tension as events transpire in a slapdash, haphazard manner.
  13. Between lots of uneven acting, some embarrassingly bad dialogue ("How do you move forward when your soul is torn apart?!") and too many unconvincing, warmed-over moments, the movie, like its charisma-free characters, is a tough one to embrace.
  14. This is the latest addition to a new type of drug movie -- one that exploits addiction for a lot of self-adoring showboating.
  15. Williams knows when material is working, and he knows the sound of an honestly aroused crowd. This ain't it!
  16. The clumsily shot and scripted Now & Later is a hollow concoction of sex, politics and endless chatter that's just a few camera angles short of hard-core porn.
  17. The Rooftop is a bullet train to bananasville, its tonal eccentricities sure to wear out even the most dedicated connoisseur of silly cinema.
  18. There's little that feels fresh, freaky or funny about one more batch of eccentric reactions to hungry corpses, one more attempt to creatively splatter, one more metaphor for zombie invasion.
  19. (Lipnicki) is pressed into the service of mugging and shtick that would test the mettle of Roberto Benigni.
  20. Proyas is trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well.
  21. The medieval-tinged adventure Last Knights will test your patience for speeches about honor, grim declarations of loyalty and pre-battle glowering.
  22. Mostly Lockout is lost in space.
  23. Frankly, the film's real surprise is that it doesn't collapse under the weight of its sanctimonious posturing and howling pretension. The film is crammed with high-cultural references and people playing "smart," but none of it adds up.
  24. Its successful moments (and they are only moments) remind us that this is a squandered opportunity.
  25. No One Lives is a cheap horror prank that's ultimately not clever or accomplished enough to sustain its eccentricities, and they are very bloody eccentricities indeed.
  26. Brotherhood isn't badly acted or without some skillfully tense moments, but it doesn't have much in the way of entertainment value either.
  27. There is never a sense that The Fall exists for any reason besides simply being something nice to look at. Yet no matter how good-looking a film may be, if it's as sleep-inducing as this, there's simply no point.
  28. The film is plagued by Anselmo's inability to focus on the heart of his story.
  29. The prospect that this role would officially shift Bettany to a bigger stage, taking him from the character roles that have become his specialty to leading man status, dies a sort of Darwinian death from bad plotting.

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