Los Angeles Times' Scores

For 7,535 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Once
Lowest review score: 0 Boxing Helena
Score distribution:
7,535 movie reviews
  1. Weakly developed characters, a lack of substantive tension and an ending that's more startling than sound round out the minuses of this earnestly motivated but undercooked morality tale.
  2. Really, truly, very scary … At least until about 30 minutes in, when you start to be distracted by the lack of logic in the storytelling and the fact that the nasty little gremlins responsible for all the bumps in the night can be offed pretty easily.
  3. Director Vivi Friedman's inability to successfully reconcile the film's duality undercuts an eclectic cast gamely committed to Mark Lisson's thematically ambitious, if scattered, script.
  4. Even if Apollo 18 is not exactly as it presents itself to be, it is less of a stunt than a low-key and unassuming film of rising tension rather than big scares or wild shocks.
  5. The better moments are fleeting. More often, the film feels flat-footed, and the story plays out as you'd expect. Long before Tanner Hall ends, you may well find yourself wishing for the final bell.
  6. Abduction is just the third movie John Singleton has directed in the past decade, and it contains neither the passion nor the competence of his two previous genre efforts - "2 Fast 2 Furious" and "Four Brothers."
  7. With its telegraphed twists and clunky pacing, the film would be unbearable were it not for the fine trio of Craig, Weisz and Naomi Watts, all more or less slumming.
  8. Courageous, proves a particularly clunky, tunnel-visioned vehicle whose overbearing, overlong script nearly smothers the movie's quibble-free message.
  9. There's a strange sort of diffidence that seems to inhabit Dafoe and Roberts' performances, and the disconnect between the two Janes is simply insurmountable.
  10. As good as Worthington, Chastain, Moretz and Morgan can be as they try to untangle the morass and the menace - and get caught up in it - they just can't quite pull it off. The real killer, sadly, is the script.
  11. The "Midnight Run" meets "Bonanza" idea isn't exactly a terrible one, but writer-director Mike Pavone has only one point-and-shoot gear, whether the scene is light comedy, dysfunctional family drama or western-tinged gunplay. (Even television shows these days exhibit more directorial flair and editing variety.)
  12. The movie's few pleasures, though, do belong to Gere, who makes the most of his preening caginess as a spook thrust back into the cold. Grace, though, comes off more whiny than tantalizingly adversarial.
  13. Winds up feeling scattershot and unfocused. Rather than capturing punk brattiness maturing into wary adulthood, director Andrea Blaugrund Nevins might have been better off simply making a film solely about Lindberg.
  14. After a grating start, the movie, directed by Peter Odiorne from a script by Gail Gilchriest ("My Dog Skip"), finds its way into warmer, more likable territory. That is, until it flies off the rails in a third act so devoid of logic it could have been concocted on the moon.
  15. The film doesn't have nearly the bite - ferocious or delicious - that any self-respecting vampire movie really should. It's as if all the life has drained away.
  16. We have a fumbling and fawning - if sincere - tribute to the living legend and a director who has never seemed more out of his element.
  17. W.E., Madonna's second go at directing a feature film, leaves one wishing she'd find other creative outlets for those times when she's bored with the pop-star life.
  18. When the filmmakers move into Nobbs' isolation, though, the movie flags - a surprise given Garcia's excellent work on HBO's minimalist personality study "In Treatment," on which he wrote and directed extensively.
  19. Capable and compelling performers like Hirsch and Thirlby seem left to their own devices to make some connection with the material. The idea of semi-invisible aliens, an unseen enemy, should mean the film has a lingering sense of paranoid abstraction (not unlike "Right at Your Door"), but Darkest Hour never gets beyond rote efficiency.
  20. Fitfully enjoyable, the film's leaden pacing and drawn-out running time make the twists of the plot less hairpin turns and more like bends in a river - moving so slowly you can see everything coming from the distance.
  21. Flowers abounds with well-worn movie archetypes and slathers on schmaltz.
  22. Director Xavier Gens seems to have set out to fashion a taut, under-siege thriller, but he never lets the innate drama of the situation play out; too often, events are accompanied by loud thumps and whooshes on the soundtrack.
  23. A uniquely frenetic hodgepodge of story lures.
  24. This is a movie that leaves you wanting more. To care more, to cry more, to love more.
  25. A self-indulgent pilgrimage to the shrine of '70s fabulousness, Ultrasuede: In Search of Halston assembles a fine assortment of archival material but falls far short of its stated goal.
  26. A strange and troubling little film, a hermetically sealed creep-fest that seems to have no desire to be anything more than just that.
  27. The first "Ghost Rider" film, directed by Mark Steven Johnson, was sort of a fizzy goof, the kind of movie where you don't expect much and then think, "Hey, that was actually kind of fun." Spirit of Vengeance, though, is undone by increased expectations, as promising more only makes it feel they are somehow delivering less.
  28. This movie version adds a whole lot of other stuff, most of it not very good and not in keeping with the spirit of the Seuss original.
  29. That John Carter is so hit and miss, and miss, and miss is unfortunate on any number of levels.
  30. The film is at its best as a fast-paced enigma. When Kentis and Lau start explaining what's actually going on, Silent House takes a turn not just for the worse but the ludicrous.

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