Los Angeles Times' Scores

For 7,829 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Wind Rises
Lowest review score: 0 Boxing Helena
Score distribution:
7,829 movie reviews
  1. Sanitized for our protection and in the hands of director Adrian Lyne, 9 1/2 Weeks is a swooningly silly cautionary tale about the bad and the beautiful; a pair whose sexual tastes might have surfaced after a night of watching "Bolero" on videocassette. [21 Feb 1986, p.1]
    • Los Angeles Times
  2. For an action thriller based on a Dick story, Next is peculiarly low-tech and hokey.
  3. Really effective horror films make us participants in the horror. Jacob's Ladder doesn't draw us in in that way. It's a movie about interior states that's all on the outside. [30 Oct 1990, p.1]
    • Los Angeles Times
  4. Unengaging and uninspired and that leaves far too much unexplored.
  5. Too slight to be taken seriously and too off-putting (especially when the phone callers get hostile and the work demeaning) to be funny, Girl 6 feels like the first draft of a potentially interesting project. It just hasn't been made good on here.
    • tbd Metascore
    • 40 Critic Score
    Because Emory doesn't grapple fully with the issues that loom over the film, there is something soppy and soft-headed about Inlaws & Outlaws.
  6. A cast this charismatic is bound to make something of the situation. In short bursts, the movie is alternately sunny and charming, dark and weird, confounding and dull.
    • 34 Metascore
    • 40 Critic Score
    The film's subject is not race but gambling, yet the cynical message is the same: We're all pathetic.
  7. The movie unravels pretty quickly as Caleo almost immediately gives away the "what" but remains marginally entertaining as he manages to maintain some suspense in the "why" and the "how" before blowing the genre completely by going soft in the resolution.
  8. Hartley turns what might have been a lurid pulp thriller into a freeze-dried art thing. He squeezes all the juice out of pulp. [19 May 1995]
    • Los Angeles Times
  9. The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
    • Los Angeles Times
  10. In essence, you get "It's a Wonderful Life" meets "Wings of Desire," swapping out the substance for self-help platitudes. If you can get past that, you can enjoy it as a 90-minute look at a lovely postcard.
  11. Evans and Gideon never really succeed in selling the idea that serial killing is a disease -- which would require a degree of realism that the slick, over-plotted Mr. Brooks doesn't otherwise aspire to. They seem to be content with occupying the audience with a series of twists and jolts.
  12. Marshall doesn't have the gift for shamelessness, and that's why the film, with its pileup of sentimentalities, seems so processed. [04 Jun 1994]
    • Los Angeles Times
  13. Wall Street wants to be a shrewd piece of movie making, our own insider's tip, but it's tinny and thin and close to moral bankruptcy. As for its veracity, it's probably no closer to Wall Street than "The Bad and the Beautiful" was to the skills of movie making. And it's a lot less fun. [11 Dec 1987, p.1]
    • Los Angeles Times
  14. Inspired by the Parker Brothers board game of the same name, Clue is more frenetic than funny, more strained than suspenseful or scary. In fact, it's not the least bit scary or suspenseful but instead quickly grows tedious. The more you struggle to keep track of the constantly multiplying plot developments, the harder it gets to care who did it. [13 Dec 1985, p.6]
    • Los Angeles Times
  15. In this stately and fairly slavish representation, directed by Richard Attenborough, what pokes through with the pain of a broken bone is how thin the material really is. [12 Dec 1985]
    • Los Angeles Times
  16. For all of its class-act bona fides, Evening lurches between the morose and the sentimental, with occasional incursions into the absurd.
    • 53 Metascore
    • 40 Critic Score
    It's not vivid or harrowing enough to command attention. Worse, at a mere 76 minutes, the movie skips past what seems like lots of crucial exposition in favor of vague flashbacks and confusing inserts. The awkward documentary-style interviews don't help.
  17. Transformers' multiple earthling story lines are tedious and oddly lifeless, doing little besides marking time until those big toys fill the screen.
  18. Fails to deliver on its main promise of big laughs, which is the film's truly unforgivable sin.
  19. David Wain, director of "Wet Hot American Summer," brings his popular brand of surrealist yet mundane humor to the big screen with more or less dreadful results.
  20. The movie feels stubbornly, resolutely disingenuous and one-dimensional. Everything in it isdesigned to make you feel better, so why does it feel artificial and palliative in that really depressing way?
  21. 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.
  22. It's neither very original nor very convincing. "Shakespeare in Love" did something similar by casting its writer protagonist as the hero of a story he himself might have written, but Becoming Jane lacks that movie's wit and playfulness.
  23. The bones of something more interesting are there -- how people come to mentally and emotionally define themselves and the ways in which they often need to realign those beliefs -- but Yeung can never reconcile his impulses toward humor and human conflict, so things tend to sputter about, feeling disconnected and episodic.
  24. As Ruscio piles it on, he gets himself further and further away from any sense of genuine emotional truth.
    • 57 Metascore
    • 40 Critic Score
    A dumb twist can be excused, however, if your characters keep the thing afloat, which makes perhaps the most unforgivable sin of this claustrophobic terror scenario the fact that we have to spend it with arguably the two least interesting people in Los Angeles.
  25. Moody, mannered and supremely irritating, Christophe Honoré's Dans Paris plays like a pastiche of French cinema clichés through the ages.
  26. Even after appropriately lowering expectations, it's kind to call this one a cut below.

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