Los Angeles Times' Scores

For 8,040 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Grifters
Lowest review score: 0 What Love Is
Score distribution:
8,040 movie reviews
  1. What's especially disheartening is the large gap between what's on the screen and the significant, meaningful work its creators sincerely believe they've made.
  2. While her latest, It's a Wonderful Afterlife, is affectionate and energetic, its comic premise seems too silly, and at times, too tedious, to hope for much cross-cultural appeal, despite a fine, committed cast.
  3. Really the biggest problem with Dark Skies is that Stewart can never quite decide just what story he is telling — a slow-burn horror parable or paranoid invasion flick — or whether to focus on this character or that, instead struggling to string together scares regardless of how they fit together overall.
  4. Writer-directors Dallas Hallam and Patrick Horvath, picking up the baton from first film creator Nicholas McCarthy, do a serviceable job aping the original's clean, mostly lo-fi atmospherics and nervy framing... The story's a wash, though.
  5. So a pioneering feminist in the hands of a feminist filmmaker should have been a perfect match. But like her subject, the filmmaker gets lost in the clouds.
  6. Not enough to save ivansxtc from, of all things, dullness.
  7. Production notes for Mark Hanlon's Buddy Boy describe it as "a dark and twisted exploration of faith, alienation and madness"--and is it ever!
  8. The film has a weird, surrealistic feel abetted by a lack of conventional structure, keeping the viewer off-balance. On the down side, that means the movie occasionally rambles. The staging tends toward the static, the cast is uneven and the small film is technically limited.
  9. Full of car chases, weak jokes and scenes so meandering they make "Saturday Night Live" look like a paragon of brevity and wit.
  10. The movie is over the top and garish. Its transitions often are sloppy and crude. But it brandishes its excesses like a loud, retro suit.
  11. David Wain, director of "Wet Hot American Summer," brings his popular brand of surrealist yet mundane humor to the big screen with more or less dreadful results.
  12. This sour spin on "My Best Friend's Wedding" (crossed with a pale dose of "The Big Chill") proves unsatisfying not only because of its unlikable characters and often contrived conflicts but for the thoroughly implausible bride and groom at its core.
  13. Chintzy-looking gore-bore.
  14. Elegy seems determined to make real every ageist dig that could be thrown its way -- out of touch, balefully slow and, for a film at least partly about the zesty enterprise of sex, awfully lifeless.
  15. Despite some absolutely gorgeous animation and adjusting expectations for what Clone Wars is meant to be, the Force is not strong with this one.
  16. This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
  17. A fictional look at film school life, realized in that archetypal film school style. If it were being workshopped in a seminar, some criticisms might include: awkward mise-en-scène, stock characters - and did you actually repeat that reaction within 10 seconds of first using it?
  18. Writer-director Todd Stephens set out to make the raunchiest gay teen movie ever, which this picture most certainly is, but the result is far more frenetic than funny.
  19. It's a strong story of lonely, even futile righteousness, which makes the plodding execution by director Arnaud des Pallierès somewhat mystifying.
  20. Scorsese and his team have created a heavy-footed golem of a motion picture, hard to ignore as it throws its weight around but fatally lacking in anything resembling soul.
  21. About 33 minutes in, I couldn't help but think, if they do another close-up of your watch as it tick, tick, ticks toward another three, I will scream. But honestly, any screaming should be directed at Paul Haggis, who both wrote and directed this mess.
  22. 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 ;).
  23. With the patiently assembled '90s films "Ruby in Paradise" and "Ulee's Gold," director Victor Nuñez gave independent film a quiet luster of hand-craftsmanship sorely lacking in his dreary new effort, Spoken Word.
  24. All the talking would be fine, but the dialogue is preachy, the drama too earnest and the action kind of sluggish, though it's hard not to get a jolt when Johnson jumps behind the wheel.
  25. Another traditional Japanese production, weakly plotted, woodenly acted and indifferently dubbed.
  26. Evans and Gideon never really succeed in selling the idea that serial killing is a disease -- which would require a degree of realism that the slick, over-plotted Mr. Brooks doesn't otherwise aspire to. They seem to be content with occupying the audience with a series of twists and jolts.
  27. Shaped more for message than for convincing narrative impact, The Dry Land ends up feeling like a PSA to raise awareness of post-traumatic stress disorder.
  28. Lacking noticeable energy or drive, its almost visceral distaste for dramatic momentum is puzzling, especially in a film about the black arts.
  29. A bold-faced name for a lowercase effort, a school wrestling drama so mired in family-film clichés it can never shake loose the suspicion that - not unlike certain high-gloss mat bouts - the emotional fix is in from the get-go.
  30. The sense of place is as strong as the narrative is wobbly. The strongest character is the Louisiana.

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