Los Angeles Times' Scores

For 9,682 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
Lowest review score: 0 Nothing Left to Fear
Score distribution:
9682 movie reviews
  1. Ultimately suffers from a late-inning collapse into thematic obviousness and multiple endings.
  2. The most profound thing the remarkably dread-filled drama Day Night Day Night tells us is what it doesn't tell us.
  3. Wilson is as sincere as ever at being insincere, though the sweet minor notes of his trademark melancholia seem here to be in search of a more boisterous presence -- say a Vince Vaughn -- to riff with.
  4. RED
    Red can't stop itself from trying too hard to be hip. It's not that it doesn't have effective moments, it's that it doesn't have as many as it thinks it does. The film's inescapable air of glib self-satisfaction is not only largely unearned, it's downright irritating.
  5. Screenwriter Victor Hawks' inclusive, all-God's-children message is above reproach, but his lead character is ultimately too good for the movie's own good.
  6. There are enough clever bits, in that exploding-bodies kind of way, to inject some fun into the party. White and director of photography Scott Kevan, who collaborated on "Stomp the Yard," have some seriously inventive visuals, which at times are smash-cut fabulous.
  7. Sporadically playful, it ends up wearing as thin as any film geared to a preteen sense of humor is bound to do.
  8. That, after all these years of playing hard-to-get, the novel has made it to the screen in the form of a plodding, tone-deaf, overripe, overheated Oscar-baiting telenovela smacks of just the kind of deliciously ironic prank an 80-year-old Colombian Nobel laureate could really get behind.
  9. Even given the character's extreme introspection and withdrawal, Tautou's performance is too often opaque.
  10. The film falls short of delivering the outrage and uplift that should have come easy for this true-life fight against justice denied. Unfortunately, that makes Conviction more a trial than a triumph.
  11. A perfectly mediocre horror film. There is some hoot-inducing dialogue and cheesy effects, but the film's workmanlike narrative marches gamely forward, managing a handful of respectable scares along the way.
  12. Hop
    Its CGI renderings are no better or worse than last month's or next month's animation family outing. Its vocal talent - led by Russell Brand and Hugh Laurie - is suitably star-powered. The only thing missing is any real wonder, imagination or comic verve.
  13. Although the results could never be accused of being uneventful, the characters cry out for deeper, more complex dimensions than simply the wide-eyed dreamer and the rhetoric-spewing agitator on display here.
  14. The franchise remains as much an endurance test as a movie, but at least a better Bay has delivered a leaner, meaner, cleaner 3-D rage against the machines.
  15. Dazzling panoramas, no matter how impressive, are no substitute for the involving story Happy Feet Two has had to do without.
  16. This effects-loaded extravaganza has more trouble finding its dramatic bearings than the Space Family Robinson has in figuring out where the heck in the universe they are.
  17. If you're a Sandler film buff, the comedy is classic Sandler and will probably satisfy. Still, the best thing about the movie remains Aniston - she is reason enough to just go with it.
  18. In one punchy way it's feverishly, genre-shakingly different. That difference makes the movie almost work. Almost.
  19. Last Action Hero does have occasional moments of humor, but overall it is lacking in fun or magic. [18 Jun 1993, p.1]
    • Los Angeles Times
  20. Chen's excessive propriety veers treacherously close to barely disguised repulsion.
  21. It too has no particular reason for being (except, of course, to complete the series and cash in). It's sprightly and inoffensive, though. And, for those who care, it satisfyingly ties up the various plot strands that were flapping in the breeze from the last installment. Back to the Future futurists will feel complete. [25 May 1990, p.C1]
    • Los Angeles Times
  22. In the end, it all can't help feeling a little slight, more a pleasant wade into a writer's neurotic playground than a satisfyingly deep dip.
  23. A peppy affair that works in fits and starts but is unable to put its successful moments together in any consistently satisfying way.
  24. Edmond does, on the surface, seem very much a contemporary tale of urban terror. Yet despite the best efforts of all concerned, what seemed explosive and provocative two decades ago now comes across as schematic and artificial.
  25. While Amma's teachings of love, inner peace and Karma, or action, resonate in the film -- obviously, Amma is a woman called to God -- her background remains pretty much a mystery. Less National Geographic and more personal history would have added a dimension to "Darshan."
  26. Cthulhu isn't awful, but it isn't particularly compelling either.
  27. It's got enough formulaic flair to make it a guilty-pleasure cousin of seaborne nailbiters "Knife in the Water" and "Dead Calm."
  28. That writer-director Jessica Hausner moves things along at such a glacial pace and fills her velvety frames with the equivalent of museum-quality oil paintings instead of with living, breathing humanity, only adds to the film's turgid quality.
  29. The Conrad Boys reveals little cinematic instinct or imagination but has a deeply personal quality that becomes engaging.
  30. Unlike "In Bruges," the outlandish parts of Seven Psychopaths, though often bleakly entertaining in their own right, remain a collection of weird riffs that not even engaging acting by Colin Farrell, Sam Rockwell, Woody Harrelson, Christopher Walken and Tom Waits can bring together.

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