Los Angeles Times' Scores

For 8,691 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 In the Bedroom
Lowest review score: 0 Back in the Day
Score distribution:
8691 movie reviews
  1. A challenge to eco-orthodoxy, Pandora's Promise subscribes to its own dogma. The lack of opposing voices diminishes the film, even as Stone raises issues that shouldn't be discounted out of hand.
  2. With Manhunter, there seems to be some danger that style has overrun content, leaving behind a vast, chic, well-cast wasteland. [15 Aug 1986]
    • Los Angeles Times
  3. The day-to-day realities, especially economic, of Sonny and Jewel's lives could have been more fully detailed to good effect, and Cage might have also have risked setting off the tenderness of his storytelling with an edgier style. Even so, few films take the viewer by surprise with such emotional impact as Sonny.
  4. There is no shaking the feeling that Branagh and his cast are a kind of an espionage film B team, capable of mild diversion but nothing more.
  5. Despite the tired premise, Kenan Thompson -- is actually very persuasive as Fat Albert.
  6. The film might have worked as a taut, topical corporate intrigue thriller; instead, for all its ambition, it's just a routine mystery, despite a solid performance by Christian Slater.
  7. This is not a chance to "experience the most timeless of stories as you've never seen it before" but just the opposite: an opportunity, for those who want it, to encounter this story exactly the way it's almost always been told.
  8. The film has only the sheer charm of its cast to get it by, and it says a lot about the actors that they nearly pull it off.
  9. That sense of extreme, excess, over-the-top everything is there from start to finish. And isn't that what Bay fans count on even at cut-rate prices?
  10. The force of the film is not as profound as Shakhnazarov clearly intended, and The Rider Named Death is easier to respect than enjoy.
  11. Works up a decent amount of solid, creep-show atmosphere in its first act before making some absurd decisions of its own in its second.
  12. Whatever the reason, his riff on Le Divorce follows the original only in broad strokes, hewing to a similar plot with many of the same characters but without the wit, the barbs and the politics.
  13. The otherwise congenial film plays itself to a draw because of flat characters and a script that overdoes the melodrama in the service of checking off a series of genre tropes borrowed from sports movies.
  14. Although it starts off vaguely amusing, 8 Women grows progressively sour, curdled by the filmmakers' bad faith and lack of compassion. It isn't just the tone that's off; it's the point.
  15. The super-hip style is groovy but doesn't mask the fact that Son of Rambow doesn't really go anywhere special or say anything much. For a film about falling in love with the movies, its insights on them are next to nil.
    • 35 Metascore
    • 50 Critic Score
    Misses opportunities to add much substance to the debate over immigration reform. Instead, it strings together the views of a few law enforcement officials, legal experts, agriculture industry representatives, politicians, one "coyote," or human smuggler, and others hailing from the south Texas town of Laredo.
  16. The veteran Marshall has proved a quick study, serving up the pastiche with panache so the stars mostly shine, the story snippets mostly amuse and you'll barely notice all the empty spots where a plot used to be.
  17. Kick-Ass 2 is a lesser version of what it appears to be, an uncertain jumble rather than a true exploration of outrage, violence and identity.
  18. 300
    300 is something to see, but unless you love violence as much as a Spartan, Quentin Tarantino or a video-game-playing teenage boy, you will not be endlessly fascinated.
  19. When it comes to special effects, the filmmakers have spared no expense. But when it comes to the story, audiences have been shortchanged.
  20. What keeps Godspeed from lasting power are its melodramatic swerves and less-than-revelatory acting. But despite its fissures in tone and technique, Godspeed occasionally plays like a sturdy indie outpost of revenge cinema.
  21. With Snow Flower, the filmmaker is forever torn between two childhoods, two adulthoods, two distinct political and social eras, and two complex relationships, unable to make both equally relevant.
    • 28 Metascore
    • 50 Critic Score
    Putting a spin on classic fairy tales is nothing new, and unfortunately that's just what the "Shrek"-lite animated feature Happily N'Ever After brings to the big screen.
  22. Only a teenage boy could find this kind of stuff continually diverting, and only a teenage boy would not notice flimsy emotions and underdeveloped acting. It seems George Lucas, like Peter Pan, has never really grown up.
  23. Get Smart neglects the laughs and amps up the action, resulting in a not very funny comedy joined at the hip to a not very exciting spy movie. Talk about killing two birds with one stone.
  24. If, as someone says in one of Brooks' trademark excellent lines, we all feel we're "one small adjustment away from making our lives work," this film is one small adjustment away as well.
  25. Although the performances are uniformly on point and the dialogue is tartly British, the film ultimately fails to earn its riotous stripes.
  26. This portrait of strong, independent women grappling with change in their individual lives holds initial allure, but the effect proves ephemeral.
  27. Josh Goldin, a longtime screenwriter whose credits include "Darkman" and "Out on a Limb" -- and whose wife is a writer at the L.A. Times -- makes his debut as a writer-director with Wonderful World. The results of Goldin's dual efforts are promising but uneven.
  28. A Case of You is perfectly enjoyable as far as indie rom coms go — just not particularly original.

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