Los Angeles Times' Scores

For 8,188 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 Hard Eight
Lowest review score: 0 Nothing Left to Fear
Score distribution:
8,188 movie reviews
  1. A film that never quite manages to justify its existence.
  2. 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.
  3. A dark piece of whimsy that enchants and befuddles in equal measure.
  4. [Aselton's] disregard for her male characters causes Black Rock to spiral into dudette "Deliverance."
  5. The cartoonish movie might have made for a funny half-hour short or sitcom pilot but runs out of track well before its conclusion.
  6. 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.
  7. In the end Anna Karenina lets you down - visually stunning, emotionally overwrought, beautifully acted, but not quite right.
  8. As amiable art-house fluff, it's a passable way to kill time.
  9. Despite its dollops of good-natured humor and sentiment, Blow Dry is likely to play better on the tube as a likable-enough diversion.
  10. This journey into "Martha Marcy May Marlene" territory is never as tense and gripping as it should be, the incidents and most of the performances too tamped-down to spark a much-needed sense of animating friction.
  11. As its plot thickens, Waist Deep gets more outlandish. The whole mess empties out into an overextended car chase through Los Angeles.
  12. The noir atmosphere doesn't quite smother the dialogue's cheesy smell.
  13. In effect, aspects of Gibson's creative makeup -- his career-long interest in martyrdom and the yearning for dramatic conflict that make him an excellent actor, coupled with his belief in the Gospels' literal truth -- have sideswiped this film. What is left is a film so narrowly focused as to be inaccessible for all but the devout.
  14. Pattinson could have the makings of a brilliant career, something more than the hot streak he's got going as the "it" guy of the moment. The same problems plague the film, which is beautifully shot but its emotional potential unrealized.
  15. The film's anthropological interest in Indonesia is the smartest thing in an otherwise familiar scramble of kidnapped babes, expensive jewelry and millions of bullets.
  16. CQ
    The result is stylish but awfully slim.
  17. You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
  18. Make no mistake, it is lovely to look at this celebrity bedazzled bit of L.A. crime history for a while. But the movie ultimately leaves you feeling as empty as the lives it means to portray.
  19. None of this means that the film is necessarily enjoyable to watch, however, which is often the problem when the rigors of inspired storytelling can't live up to an imaginatively designed filmic world.
  20. Diablo Cody's glib teen-hip dialogue mostly feels like self-conscious splatter over a sorely lackluster scare flick.
  21. Only partially convincing.
  22. The structure, sliding between memories evoked by objects in the house and the common difficulties of moving day, should play with more elegance than it does. Instead, it feels awkward and frequently - as does the film on the whole - too on the nose, too obvious.
    • 14 Metascore
    • 50 Critic Score
    Relentlessly inoffensive, innocuous and vacuous, From Justin to Kelly is nowhere near as bad as its pre-release publicity would suggest.
  23. All I could think about while watching Jennifer Lopez prance through Monster-in-Law was how cool and poised she was in "Out of Sight."
  24. Scotsman not only lacks vision, a true sense of how to mesh Obree's sporting triumphs and personal setbacks, but it also lacks passion. What it needs, as strange and tacky as it may sound, is a bit more madness.
  25. Despite strong portrayals by Guttenberg and his co-star, Lombardo Boyar, and sequences that attempt to open the play up, it remains too much a filmed play, and worse, one that has not been effectively paced. As a result, it doesn't come alive until it's drawing to a close that's unexpectedly touching, if more than a little sentimental, but too late to redeem the preceding tedium.
  26. The results are decidedly more mind-numbing than bone-chilling.
  27. With each succeeding picture, Linklater seemed to grow as a filmmaker, just as his characters became more defined and developed. But with his fourth picture, subUrbia, he takes two giant steps backward.
  28. Melton and Dunstan have created little more than a hollow shell for an empty box.

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