Los Angeles Times' Scores

For 9,918 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 About Schmidt
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
9918 movie reviews
  1. It's an unhinged, off-the-wall comedy that will try anything once, an uneven film in which the hits are so dead-on that the misses don't seem to matter.
    • 42 Metascore
    • 50 Critic Score
    Capper's film feels like a making-of featurette spun out to documentary dimensions, just another component in the new album's marketing plan...In its simplest moments, though, Reincarnated presents an honesty that is its own reward. It shows us an old Dogg with no tricks.
  2. The story is poignant and compelling, but ultimately the film doesn't have the heft it needs to fill out the big screen.
  3. Sweet but dramatically inert.
  4. As horror movies go, this one's not especially tense or scary. Instead, it's eerie, provocative and at times ridiculously violent. The ending feels like a cop-out after so much creative mayhem.
  5. Despite striking a chord in terms of sibling politics and the inelegant ways we deal with death, Two Weeks too often feels as if it's destined for heavy rotation on the Lifetime Movie Network.
  6. Reinforcing the adage that looks aren't everything, the live-action animal drama Arctic Tale arrives in an impressive visual package and even boasts a timely message, but its undistinguished storytelling is a big letdown.
  7. Sometimes it’s impressively funky and stylish, and sometimes tediously derivative.
  8. At its most straightforward, the film is an effective drama about a 10-year-old city girl's eye-opening summer in the rural Midwest.
  9. Belladonna of Sadness is an interesting curiosity from the early days of modern anime, but material that may have seemed daring and adult in the era of Disney's “Robin Hood” and “Snoopy, Come Home” looks exploitative and misogynistic 43 years later.
  10. Paxton and Frost lay the schmaltz on thickly, but the deal-breaker is the overuse of special effects, which make the game in question look more like pinball than golf.
  11. At the moment, modestly amusing does not stave off that desire for a really great live-action family film after years of watching the terrain land-grabbed by animation.
  12. Under Michael Tollin's direction, Prinze does well in what is surely the most complex character he has played on the screen.
  13. Eichmann, in all its solemnity, needs to be more dynamic; the film's portentous score further weighs it down.
    • 86 Metascore
    • 50 Critic Score
    While I have no doubt that Jaws will make a bloody fortune for Universal and producers Richard Zanuck and David Brown, it is a coarse-grained and exploitive work which depends on excess for its impact. Ashore it is a bore, awkwardly staged and lumpily written.
  14. This may sound thrilling, but it's not. Battleship plays ordinary and pedestrian because it's always been a job for hire, never anyone's passion.
  15. The impulse to end on an "up" note, to turn complex and contradictory lives into palatable narratives, is one of the least-examined pitfalls in nonfiction filmmaking. But in her attempt to give their lives a shape that the girls themselves seem to resist, this talented filmmaker has done both herself and them a disservice.
  16. The Samaritan doesn't wind up feeling like a con, exactly, but it has just enough promise to leave viewers feeling ripped off when it comes up short.
  17. Increasingly perplexing film, which is more concerned with being clever than satisfying.
  18. Suicide Squad is a concept in search of a story worth telling. Both energized and betrayed by its “Worst.Heroes.Ever” theme and writer-director David Ayer’s trademark visceral filmmaking, it ends up in a kind of limbo, not as strong as partisans will insist or as worthless as its weakest elements would have you believe.
  19. A mess of a movie -- but a warm, friendly mess that's hard not to like, even when it tests your patience.
  20. Too dark to be very funny, too mushy to be pitch black.
  21. Although a talented cast and crew keep this party lively, the lack of a point becomes a problem.
  22. Righteous Kill's script is credited to "Inside Man's" Russell Gewirtz, and you wonder how the sleek, nuanced flow of that earlier movie evaded this one.
  23. A snapshot of Los Angeles artists during a cultural pivot point, the documentary Young Turks sparks fascination and frustration in equal measure.
  24. What is unexpected, however, is that the film manages to be flat and uninteresting, despite the juicy (or, at the very least, lurid) true story from 1979 that serves as this curio's inspiration.
  25. In many ways, "Engagement" reflects both the best and worst of Stoller and Segel's creative collaborations.
  26. What starts as a cheeky lark about bad reputations and snazzy transformations never really gels into something truly funny or even appetizingly weird.
  27. That's really what TMNT lacks most -- humor. Despite the doll-like cartoonishness of the human figures, the filmmakers seem to expect us to take this animated romp seriously. Too seriously.
    • tbd Metascore
    • 50 Critic Score
    It's as though everyone involved with this doc is afraid to push too hard, lest they knock everything down.

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