Los Angeles Times' Scores

For 8,566 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Before Sunset
Lowest review score: 0 Hudson Hawk
Score distribution:
8,566 movie reviews
  1. Salomé and co-writer Natalie Carter offer some explanatory psychology, but the complexities remain underdeveloped. Still, you won't be bored.
  2. A work of honesty and artistic integrity that nonetheless will be difficult to watch for many viewers.
  3. Jelski is a skilled filmmaker, and her sense of reality is so uncompromising that, even when tempered by a touch of dark humor, her film is a grim, hard-to-take business.
  4. The film ultimately works best as a daughter's heartfelt tribute to an enormously devoted and emotionally generous parent. Unfortunately, that's just not enough to, well, connect us to the bigger picture.
  5. A plodding, squeaky-straight Time-Life tribute to the greatest generation, the movie plays like a commemorative plaque.
  6. But the climax of "Close Encounters" was breathtaking and the climax of The Abyss is downright embarrassing; in the light of day, its payoff effect looks like a glazed ceramic what's-it your 11-year-old made in crafts class. It's criminal. [9 Aug 1989, Calendar, p.6-1]
    • Los Angeles Times
  7. When the film's fate rests on the alchemy of its stars, you really don't want to get that wrong. But here, chemistry is a problem, and it proves a significant one.
  8. Outdoes recent releases such as "Boogeyman" in the fright department, but the "Dawson's Creek" sensitivity and unsatisfying effects undermine the lupine anxiety.
  9. It's difficult, though, to see how this picture -- essentially chronicling a long car trip -- could mean much to anyone but the Wagners and their friends and relatives.
  10. It shouldn't be surprising, but some of these directors are more interesting than their work. French director Breillat, never a personal favorite, is an absolutely hypnotic speaker who holds the screen the way her films rarely have.
  11. Instead of a cautionary tale, they've looked at Flynn's life through rose-colored glasses.
  12. For the most part, it's an uneven if amiable and occasionally inspired comedy about getting through adolescence that hits some false notes along the way.
  13. Good stuff comes when bad stuff happens; that's when some of the movie animation prowess kicks into high gear. But too many of the "solutions" the guys concoct are so impossibly complex or just downright ridiculous — puppetry comes to mind — that like the continents, it's a little too easy to drift away.
  14. Constant shifts between past and present and between individual stories creates varying perspectives that add dimension and insight to material that might play tritely if presented in straightforward narrative form.
  15. This story of an East L.A. Latina determined to follow in her father's footsteps to the boxing ring does pack a punch.
  16. Anyone looking for the kind of comic brio that Dustin Hoffman and company brought to "Tootsie" will not find it here. [24 Nov 1993 Pg. F1]
    • Los Angeles Times
  17. If you are in touch with your inner 14-year-old child, you could do worse.
  18. A film that would have been more potent had it been a 40-minute short rather than a feature-length proposition.
  19. Unfortunately, "Blood and Honey" has script problems: Its core story is less compelling than its overall atmosphere.
  20. Shame as well upon the advance marketing department for blowing the end of the movie in ads, thus exorcising any ghost of a chance Quarantine had of issuing a surprise.
  21. Moll's restraint gives way to a tastefully overwrought checklist of Gothic imagery. In the cloistered shadows and the harsh Castilian sun, the visuals are handsome, even as the movie threatens to tip into parody.
  22. A threadbare comedy glomming onto the ample talent of its star, Will Ferrell.
  23. The city's skyline is blown to bits. Burning, broken, blackened bits. So if that's what you're in the mood for, that is what the film delivers, endlessly, but in that cheesy-campy way that can make a bad movie good fun.
  24. Strictly for fans only.
  25. Not all it might have been, an oddly old-fashioned film from a director who's usually anything but.
  26. Sometimes the facts can get in the way of the drama, and that's the central problem here. That sense of needing to be true to the record is reflected in an overwhelmed screenplay.
  27. Dazzling in its possibilities, but the holiday message of the 37-minute Santa vs. the Snowman leaves a lot to be desired.
  28. Gorgeously shot, smartly conceived, cleverly cast, badly executed - the lush medieval beauty here is at best only skin deep.
  29. FD 5 did not raise even a single goose bump - which for a movie that bills itself as horror is not a good thing. The camp factor, however, is high and makes the 95 minutes pretty much fly by.
  30. In the end, LaBute's remake is an interesting idea that never transforms into a particularly satisfying movie.

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