Los Angeles Times' Scores

For 8,094 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Dances with Wolves
Lowest review score: 0 Formula 51
Score distribution:
8,094 movie reviews
  1. Fluffy and mild to the point of somnolence, it can't even get the full benefit of its strongest asset, Glenn Close's performance as the grasping virago Cruella DeVil.
  2. Kirkland manages to rise above the soap opera script with its improbable twists, stilted dialogue and internal contradictions to give a believable and often-sympathetic performance.
  3. Maxwell has populated his film with paragons rather than people. Worse, they talk and talk and talk; this film is in danger of talking itself to death before the Union and the Confederacy are able to decimate each other.
  4. Efficiently told and features solid performances, but without the juicy character detail, vise-grip suspense or black comic intensity of its memorable forerunners, it unwinds as a boilerplate genre item.
  5. There is no real plot either; instead the narrative seems designed to get this prehistoric pair from one funny sketch to the next, which sometimes works and sometimes doesn't.
  6. Cassadaga tries to scoop up enough tropes to satisfy a wide range of potential fright fans but lacks the cohesion to ever truly be effective.
  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. A glum British kidnap movie in which writer-director J Blakeson manages to generate tension and some suspense, never rises above the mechanical and contrived, finally lapsing into the improbable.
  9. A woeful little comedy that runs out of steam shortly after its opening sequence.
  10. Any film that uses the Stooges' drone-y song "We Will Fall" to underscore a drug-love scene can't be all bad, but they, as apparently does Uschi, deserve better than this.
  11. In trying to qualify as mordant satire, charming rom-com, uplifting buddy movie about underdogs trying to stick it to the man and the most meta story ever told, L.A. Twister sprains itself badly.
  12. This is a movie for younger children -- they won't notice that the children deliver their lines with all the conviction of an airline flight boarding announcement.
  13. For all of its class-act bona fides, Evening lurches between the morose and the sentimental, with occasional incursions into the absurd.
  14. Because it's all shot to look like a South Korean noir, with umpteen slo-mo shots and stylistic noodlings to affect a kind of grimy urban anti-hero chic, Christensen effectively leeches the emotion from the central story.
  15. A dreary experience.
  16. 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.
  17. Despite the story's melodramatic contrivances the creation of characters we actually care about is beyond this film's capabilities.
    • 36 Metascore
    • 40 Critic Score
    Fired! is missing the one thing it could have used most: a career objective.
  18. Promising as it seems in theory, everything in this new version, like Lena Lamont's image in "Singin' In the Rain," falls apart as soon as the talking starts.
  19. The endless gore and violence make the experience torturous -- and not just for the victims in the movie.
  20. A sour romantic comedy, only sporadically amusing.
  21. Despite the pretty overload and the smoldering blue-eyed handsome of Egglesfield, the heart-pounding, palm-sweating, heavy-breathing chemical reactions that should be causing major blackouts in Manhattan, where this story unfolds, are nowhere to be found.
    • 55 Metascore
    • 40 Critic Score
    The director has steadfastly proclaimed his passion for the novel, but the film he's made of it too often plays as no more than an excuse to display his frantic, frenetic personal style.
  22. But it's one thing to write a loving ode to your mother; another to direct an ode to an ode.
  23. The film is forever trying to balance between being for younger teenagers and keeping their parents occupied as well, and never quite gets it right.
  24. An investment in theatrical self-indulgence with diminishing returns.
  25. This brief, loosely-knit film never builds any empathy or tension.
    • 41 Metascore
    • 40 Critic Score
    Mumia Abu-Jamal would be the perfect subject for an investigative documentary that explored his life and thought with a calm and even hand. Mumia: Long Distance Revolutionary is not that film.
  26. Ironically for a film revolving around psychotherapy, Shrink doesn't stand up to analysis.
  27. This isn't your father's cross-dressing. At the same time, the science of comedy attains a new level of appreciation, since hardly anything about this sluggish sequel to the 2000 box office hit comes close to being funny.

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