Los Angeles Times' Scores

For 10,048 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 Our Daily Bread
Lowest review score: 0 Code of Honor
Score distribution:
10048 movie reviews
  1. Not content to be a mildly diverting royal bodice-ripper, it spirals out of control into the kind of overwrought dramaturgy that's out of its league.
  2. Felon is not a total bust. What does work is because of the strength of the actors. Dorff brings a visceral sense of desperation to his performance, though he does tend to go too big too quickly. Kilmer gives the film its center as an alien, still presence amid the chaos around him.
  3. Despite the fertile concept, it's hard to care about, much less root for, the irritable, charisma-challenged Barney. The character never emerges as an effective hero or antihero, and performer Carlyle does little to mitigate that.
  4. The sophistication gap between the character Cheadle has created and the film that contains him is so great it begins to feel like you're watching two different stories that have been unaccountably spliced together.
  5. With its developers-versus-ranchers intrigue and touches of magic realism, the movie ends up playing like a mild-tempered oddity.
  6. The movie is like a promising date that goes nowhere.
  7. Stylish and gritty, The King Is Alive lacks the impact of revelation that might have made the journey worth taking.
  8. It would be foolish to deny that Unbreakable has scenes that make you jump, but without anything resonant to apply that skill to, the film has no option except squandering its technique.
  9. The best reason to see Don’t Knock Twice is the volatile chemistry between genre favorites Katee Sackhoff and Lucy Boynton.
  10. As long as you keep thinking of "Babe," you can't help thinking that there's no excuse for movies like Good Boy! to merely push the usual buttons, deploy the usual poop jokes and carry out the usual sight gags.
  11. It has a droll sensibility but is marred by dirge-like pacing and is seriously under-lighted -- so much so that it's all but impossible to get a good look at its principal setting.
  12. Though there's no shortage of mustache-quivering energy and wide-collared strutting, Angel of Evil can't separate itself enough from the pack as a character piece to be memorable as anything other than a blood-spattered timeline.
  13. The result is at once familiar and disconcerting, meta-Keillor done in Altman's desultory, distracted style.
  14. In the absence of a more conventional storytelling approach, this series of brief, fragmented glimpses of the harsh challenges that shaped Lincoln's early life never allows you to get sufficiently close to its celebrated subject.
  15. In attempting to address its many concerns, the film’s agreeable, lightly satirical tone gives way to increasingly didactic dialogue and a stalling pace.
  16. The plot hinges on Jenna's horrified realization that her adult self is a witch, but 13 Going On 30 -- works foremost as a vehicle for its rising star.
  17. Piranha 3D is trying so hard for the laughs and the allusions amid all the gore, and endless bloodbath of bare naked ladies, that it completely forgets to frighten anyone.
  18. The heat that should saturate the film as betrayals mount and boundaries are broken flickers and dies many times over Miss Julie's languid two-plus hours.
  19. Even with 15 minutes excised from its original running time, and stirringly photographed and well-acted, the film fails to deliver on a sense of mounting tension or convincingly staged battle sequences.
  20. This energetic and diverting sports soap opera throws a few head fakes in the direction of an iconoclastic examination of the dark side of professional football.
  21. With Cooties, what starts as recess fades all too rapidly into movie detention.
  22. Samsara is as frustrating as it is beautiful, which is saying a lot because this is a film laced with exquisite images.
  23. Subtle it is not. Well-intentioned it certainly is. No one but the youngest in the family will care very much about it, though. And they may well be filled with wonderment trying to figure out what this big Babe person is all about.
  24. This may be a just-for-fun comedy, but that shouldn't mean that it must entirely disconnect from the world.
  25. Though the film aspires to the epic with pretensions of deeper philosophical meaning, it ultimately settles for being the "Escape (The Piña Colada Song)" of historical romances.
  26. A hostage drama, cliches intact, is what we get.
  27. The movie is visually inventive and with enough good moments and smart moves to never be entirely dismissible, while not strong enough to overcome its essential thinness.
    • 52 Metascore
    • 50 Critic Score
    The film is a persistent spectacle of audio-visual mood and twee posturing: Strange musical currencies underscore almost every scene, and Logan's acts of scoping and cocooning, in and out of Joey's planetary-themed bedroom, are punctuated with fuzzy video of animals on the hunt.
  28. The characters never evolve past mere functionality, and the adherence to certain tried-and-true horror tropes -- the good girl who doesn't want to go but does, the generic naughty kids who get it first -- feels workmanlike, robbing the story of any real suspense or surprise.
  29. For reminding us all that Cage has a peculiarly gifted way with erratic types, The Trust has merit, but the rest of it strains to hold one’s interest.

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