Los Angeles Times' Scores

For 9,829 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jackie
Lowest review score: 0 Bio-Dome
Score distribution:
9829 movie reviews
  1. Director Amelio turns Antonio's brief stint at a "real" job into a piercing and visually striking glimpse of hypocrisy and corruption — a glimpse too of the film that might have been.
  2. The script, written by director John Slattery and Alex Metcalf, drifts too quickly into blue-collar cliches, leaving its interesting collection of characters only half-drawn at best.
  3. Pablo Fendrik's Ardor is a densely atmospheric, Sergio Leone-steeped western that ultimately proves too reverential for its own good.
  4. The film offers disappointingly little insight into the music itself.
  5. It has the awkwardness that characterizes many first features and, as befits a culture that does not always prize refinement, some of its performances and situations are not as subtle as they should be.
  6. The film owes whatever persuasiveness it has to the teen leads' sharp performances — their sisterly chemistry and their filial friction with an alcohol-addled mother, well played by Mira Sorvino.
  7. Starts off feeling clever and original but turns silly and diffused as its convoluted story spins out.
  8. It also points to one of the movie's most nagging problems: Stuck somewhere between personal memoir and universal truth, Fred Won't Move Out ends up being neither.
  9. Freeman and Nicholson make the most of Justin Zackham's script, but there just isn't enough substance behind their characters to prop up the carpe diem platitudes. The result is a semi-comedic, geriatric "Brokeback Mountain" minus the sex and with a Himalayan summit.
  10. Any glimpse of emotional honesty comes courtesy of the actors, who manage to do a credible job despite the material.
  11. It's not the story that's the story here, it' the film' bravura visual look.
  12. As writer as well as star, Dedio expresses passionate concern for the lost young souls of Lower Manhattan but by and large doesn't define his characters strongly enough to involve the viewer in their fates very deeply.
  13. It finally can't transcend the limitations inherent in being no more than a way station in an epic journey, a journey whose cinematic conclusion is several years away.
  14. Lively, amusing collection of five films that take a wry look at being gay.
  15. Given everything, it's no surprise that the verdict on the film has to be a split decision. Troy is a movie you believe in physically...Believing in Troy emotionally, however, presents a greater challenge.
  16. Lacks originality.
  17. The result, while sincere and nicely evoked, feels choppy, familiar and, despite the script's heavily stacked deck — and a few harrowing episodes — lacks sufficient momentum.
  18. Underneath all the cartoonish mall mayhem and silly slapstick lies a comedy that aspires to be the sort of gentle crowd-pleaser John Hughes used to make.
  19. One just wishes the scaffolding of indie tropes around Paul and the better parts of Hellion weren't so shaky.
  20. Given the subjectively interpretive nature of scripture and ancient religious history, which informs most of the Christian-centric debate here, the result is an often dense, contradictory discourse.
  21. This action facility, however, is not enough to make "13 Hours" more than sporadically successful, in part because, at 2 hours and 24 minutes, the film is too long for its own good and risks feelings of repetition and exhaustion.
  22. Though it doesn't always work, it's an idea with its heart in the right place and, paired with nonshock comedy, it's a nice change of pace.
  23. The agreeable cast led by Hudson and Cusack manage to extract a handful of laughs from the forgettable dialogue, but at nearly two hours, the film goes on far too long.
  24. As entertainment, the movie is a mixed bag. Some of the talking heads become just that after a while.
  25. It feels more like the sketch of an idea than a fully realized film, and it ends on a note that seems it should be the beginning or middle of the story, not the end.
  26. The film's many violent action scenes are quite well, er, executed. But there's a far more emotional and profound story here to be told, one that becomes largely eclipsed by the mayhem.
  27. A pleasant diversion, and its makers have been smart enough to keep it unpretentious.
  28. An initially compelling but uneven drama elevated by two centered performances.
  29. More objectivity would have made this case study a lot more persuasive.
  30. It is an acceptable enough thriller, neither the worst you've seen nor the opposite.

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