Los Angeles Times' Scores

For 7,161 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Private Property
Lowest review score: 0 Vegas Vacation
Score distribution:
7,161 movie reviews
  1. Despite the occasional topical reference to President Bush and Sen. Clinton, this movie is, like, so eight years ago, it isn't funny.
  2. Far from great, and this off-putting French romantic comedy is sure to test severely the indulgence of fans of "Amélie."
  3. It's too bad this Rollerball veered off-track so swiftly, derailed by bad writing and possibly also by some of that extensive post-production reworking.
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  4. Too often we feel that left-out-in-the-cold draft that blows over the shoulder whenever actors appear to be having more fun than the audience.
  5. The astonishing thing about Raising Arizona is how it can move so fast, be so loud, and ramain so relentlessly boring at the same time. [20 Mar 1987]
  6. Melts swiftly...don't expect a shred of credibility.
  7. Given the polyglot nature of the cast, with actors from at least five countries taking their best shots at the English language, it's unclear why Cage felt he needed an accent or, stranger still, why it took him a reported seven months to come up with this one.
  8. Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
  9. Only the innate sweetness of both its lead character and its base premise keeps you from wanting to slap Deuce Bigalow: Male Gigolo upside its mangy, empty head.
  10. It's not often that you see talented, well-meaning people joined together like cultists in the snare of a group delusion, but that's what makes this film fascinating, the proverbial accident you can't take your eyes off.
  11. Though there's a thin noir line between lust and hate, Lansdown delivers nothing to stir the passions of filmgoers one way or the other.
  12. Max
    Just because people are objecting to Max for all the wrong reasons doesn't make it a good film, and it's not. It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
  13. Gadget instead ends up as another mindless, noisy thrill ride that gorges its audience on bright effects and leaves it queasy from overconsumption.
  14. Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
  15. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  16. Has been described as a "midnight-style musical." And perhaps it should be seen that way, with a crowd of kindred knuckleheads and some moshing in the aisles.
  17. More a 99-minute public service announcement about the plight of illegal immigrants than a fully formed drama, the film finds itself in a no-win situation not unlike that of its protagonist.
  18. The three leads go through the motions with goofy geniality, and director Chris Koch has enlisted some consummate character actors -- to help hold up the sagging jokes and story line.
  19. Those 24-and-unders who are looking for their own "Caddyshack" to adopt as a generational signpost may have to keep looking.
  20. More travesty than tragedy.
  21. What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
  22. Whatever his intentions, Clark, in his third outing as a director, has come up with a film that is seriously flawed.
  23. Falls wildly short of its inspirations.
  24. A painfully contrived and artificial exercise in futility.
  25. A dismal pastiche of threadbare plot devices and not-so-comic interludes.
  26. Opens and closes on a jaunty note: It's the tedious, relentlessly talky 80 minutes in between that's the problem.
  27. The Joker has been demoted into a broad-scale sociopath, without a tempter's power or a mythic villain's complexity. And that's the movie's real undoing. [23 June 1989, Calendar, p.6-1]
  28. It has a tendency to run ragged and spends an unhealthy amount of time idling pointlessly at intersections.
  29. a freefall into urban hell that doesn't give us The impetus to jump or the awful gratification of the ride.

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