Los Angeles Times' Scores

For 7,700 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 Four Times (Le Quattro Volte)
Lowest review score: 0 Waking Up in Reno
Score distribution:
7,700 movie reviews
  1. This oddly paced kids' entertainment displays flashes of intelligence -- then misspells terms on NASA control panels.
  2. An empty enterprise that provides a few moments of goofy fun, Mirrors reflects back nothing.
  3. There are problems for us as well in Wonderland. Like its main characters, the film is having an identity crisis -- is it a parable for adults or a fable for children? Its childlike whimsy doesn't always fit with its very grown-up themes.
  4. Trumbo's aim was a kind of proletarian poetry, but McKenzie's broad emoting has the deadly earnestness of a school play.
  5. Shoot on Sight has good intentions but winds up a thematically simplistic, dryly plotted and perfunctorily shot melodrama, one of those movies where dialogue is there to categorize people, not parse the complexities of human beings.
  6. A promising effort that doesn't cohere into anything more, Smother never fully comes to life.
    • 28 Metascore
    • 40 Critic Score
    A dead-on-arrival thriller that resolutely fails to come to life.
  7. Davi's heartfelt performance makes for a winning solo, but the movie too often lacks harmony.
  8. Shows strains of stylistic overkill with egregious flash-edit tricks and sped-up camera moves, while the signal-flare plotting indicates that perhaps a bit more time could have been taken on the screenplay.
  9. Only half as clever as it thinks and even less entertaining.
    • 64 Metascore
    • 40 Critic Score
    Lurie spins off into invention like a "Law & Order" writer on deadline, scrambling the issues so thoroughly it's no longer clear what, if anything, the movie is meant to address.
  10. Regrettably, the long-delayed adaptation from director Vicente Amorim and screenwriter John Wrathall gets crushed by the weight of trying to be something more; it's really just the story of a rather ordinary but disappointing man. The filmmakers reach for metaphor and allegory, but it comes at the expense of an emotional connection.
  11. There is no real plot, the movie's filled with friends of Steve, the comedy is terribly overplayed, or the comedy is overplayed terribly (again, you can choose) -- what you're left with is a bag of tricks that has seen better days.
  12. The scenes of servicemen feel somehow false, a screenwriter's idea of military life rather than the real thing. Myrick does an admirable job of spinning tension from a group of guys mostly standing around, but too often the film's portentous tone seems more silly than suspenseful.
  13. The leads aren't only miscast -- Brody over-mopes and the usually wonderful Ruffalo seems out of sorts as a rascally schemer -- but interest in the con plot fades as the director's bag of tricks empties further.
  14. A mess of a film that can't quite figure out what it wants to be: an illicit love story, a political thriller or a coming-of-age set piece
  15. Undone by a deadly twofer: lack of trust in characterization coupled with single-minded faith in spelled-out messages.
  16. It's lost-in-life meets lust-for-life in the reliably regenerative wine country, which means most moviegoers could hand this emotionally stranded odd couple a road map of where they'll be by the closing credits.
  17. Sometimes glossy, sometimes hard-edged, the film alternates between glitz and unpleasantness and ends as a kind of glum soap opera, too glam to be bleak and too bleak to be so glam.
  18. Too bad all the forced whimsy of this "Bottle Rocket" wannabe feels maniacally scattershot -- like an off night at an improv club -- rather than organically inspired.
  19. Part of what makes "Connecticut" oddly watchable even as it drags is the oil-and-water mix of acting styles of the leads. Virginia Madsen's refined naturalism is an awkward fit with the sharp mannerisms of Martin Donovan.
  20. Despite the film's haphazard choices and aversion to subtlety, Parker and Williamson come off as appealing sparring partners.
  21. Director James Wong ("Final Destination") and writer Ben Ramsey are utterly blasé in their approach to the series' mythology and structure, cobbling together an 84-minute movie that seems to exist only to rile up fanboys. On that count -- and that count alone -- Dragonball Evolution triumphs.
  22. By consistently and relentlessly overplaying everything, by settling for standard easy emotions when singular and heartfelt was called for, by pushing forward when they should have pulled back, director Joe Wright and screenwriter Susannah Grant have made the story mean less, not more. Instead of enhancing The Soloist's appeal, they have come close to eliminating it.
  23. Old-fashioned in the worst sense, Bardwell's ghost story is heavy on Freud, light on fear.
  24. The leads can't lend either spunk or gravitas to what was already a preposterous yarn 50 years ago.
  25. As Julia struggles to survive her bad decisions, the film struggles to survive Julia. We never get a good look at her demons, just the havoc they wreak.
  26. Not a remake -- it just feels like one.
  27. It's not so much a movie as a series of running antiquity gags, good for a comedy club, not so much for the multiplex.
  28. Any sort of new insight into comedy's darker themes, to say nothing of life's, eludes Funny People. Instead Sandler and Rogen and the rest are left to wander aimlessly, with tedious comedy gigs, an even more tedious faux sitcom and relatively vapid relationships masquerading as a plot.

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