Los Angeles Times' Scores

For 7,705 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 Inheritance
Lowest review score: 0 Miss March
Score distribution:
7,705 movie reviews
  1. Writer-director M. Blash's sophomore film is ethereal and trippy, told less in scenes than in oblique snatches, not unlike the experience of emotional paralysis. This approach grows wearying.
  2. The Attorney is on the side of justice, but it's a ham-fisted dramatization of real-life events that mistakes anger for persuasion.
  3. It can't decide what kind of a film it wants to be and so ends up failing across a fairly wide spectrum.
  4. Though an admirable shake-up of the typically overbearing, munch-intensive undead yarn, The Returned is still a far cry from the smarts-and-shocks zombie allegories George Romero mastered.
  5. It's so predictable in its beats and pedestrian in its execution that a viewer can slip in and out of consciousness, confident she won't miss much and will know exactly where in the story she is when she awakes.
  6. Every time things between blue-collar David (Pettyfer) and pretty, privileged Jade (Wilde) get sticky — either kissy/gooey or teary/hurt-y — and the film could go deep, "Endless" morphs into music video territory.
  7. In terms of character and plot, not one element of the intended wild ride escapes self-consciousness or becomes the least bit involving.
  8. If "The Bible" was CliffsNotes for the Scriptures, Son of God is the cheat sheet. The two-hour film condenses about four hours of what already was hasty television, and it all winds up a little dramatically static.
  9. It is the most nonsensical crime caper to make it on screen in a while.
  10. Salva manages a few inspired scenes... But the lasting image Dark House offers is of the screenwriters hurling everything they can think of at the wall.
  11. Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
  12. Like many found-footage films before it, The Den never entirely suspends disbelief. It doesn't satisfyingly account for how the characters are producing all the footage.
  13. Artificially jacked up to feel like mean but serious fun, Sabotage mostly flings blood, vengeance, testosterone and clichés to the wall to see what sticks.
  14. Whatever emotional depths filmmaker Jessica Goldberg hopes to suggest, there's nothing stirring beneath the movie's static surface.
  15. An unconvincing, poorly conceived hybrid of end-of-the-world thriller and relationship drama.
  16. Berry's florid physicality has a certain silent-melodrama pull. The film around her, however, is lamentably by-the-numbers.
  17. Magical swords, evil doppelgangers, a sexy black muscle car, an unremarkable final showdown and lots of first-draft dialogue factor into this thankfully brief (about 80 minutes plus end credits) frightfest.
  18. A repetitive, sluggishly paced nocturnal rumination on why we bother reuniting with old friends we purposefully left behind.
  19. So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
  20. Not unlike most of its Hollywood counterparts, though, this Hong Kong import can't resist the urge to dumb down a fascinating premise for the sake of mass consumption.
  21. Its core dance styles are a wonderfully frenetic fusion of tap and hip-hop and a truly novel blend of Japanese taiko drumming and K-pop girl-group choreography. Whenever actor Derek Hough and BoA stop leaping and twirling, though, Make Your Move is an underwritten mess.
  22. Unlike the teeming world living between the lines in Munro's story, there is not nearly enough in Hateship Loveship to keep you invested.
  23. Director Roger Gual presents little in the way of tantalizing culinary visuals, and that leaves the paper-thin characters as the main course.
  24. Slyness, slapstick and sex can often be mixed to amusing effect whatever the specifics — the original "Hangover," for example, did a credible job of it — but The Other Woman is ultimately undone by its indecision.
  25. Mr. Jones has the bones of something freaky but succumbs to a penchant for alienating chaos over sustained, abiding creep.
  26. The film blurs lines between documentary, reality television and "Candid Camera," with Vargas instigating the proceedings.
  27. Egoyan, who has never shied away from the lurid aspects of lost innocence, takes a measured approach that successfully avoids sensationalism. But the film's restraint verges on blankness.
  28. With their unforced magnetism, Brosnan and Thompson are persuasive as exes who still have chemistry... They have the verve and comic chops to ignite sparks, à la Cary Grant and Rosalind Russell, but this Punch never truly connects.
  29. It's a strong story of lonely, even futile righteousness, which makes the plodding execution by director Arnaud des Pallierès somewhat mystifying.
  30. Director-star Livia De Paolis sets out to reassure everybody that the Internet won't destroy all relationships in her agreeable but unnecessary family drama Emoticon ;).

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