Los Angeles Times' Scores

For 10,039 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Taxidermia
Lowest review score: 0 Empire Records
Score distribution:
10039 movie reviews
  1. Unfortunately, the cast and a few sweet tunes by Armstrong are the only things going for this delayed coming-of-age dramedy.
  2. The Eye of the Storm is an ambitious stab at what might be called the Great Australian Film. The results are off-and-on impressive, but the project's ambitions turn out to be greater than its ability to achieve them.
  3. Its warped, disconnected sensibility makes for an oddly distant piece of work.
    • Los Angeles Times
  4. While Giovinazzo's crude approach undercuts his occasional stab at gravitas, "Cracktown's" cast keeps things in the ballpark of relatable humanity. Best of the lot is Kerry Washington.
  5. Keeps its filmmakers behind the camera and does without the personality-driven "Fahrenheit's" sarcastic sense of humor.
  6. There are stretches of tedium in this lumpy and derivative mythology, to be sure. But there are also immersive IMAX 3-D backdrops, striking ambiguities and irresistible moments of straight-faced lunacy. The line between hack work and labor of love may be perilously thin, but you can sense the difference in the way Jones earnestly, wholeheartedly embraces the magic that powers this realm.
  7. A sense of lethargy hangs uneasily over the lumbering new version of The Magnificent Seven. Despite its sturdy plot, seasoned director and capable cast toplined by Denzel Washington, Chris Pratt and Ethan Hawke, it arrives in a comatose state, a film unlikely to arouse passions one way or another.
  8. Ross is to be commended for taking chances on his first outing. He delivers grown-up shivers with a strong cinematic sensibility. But however suspensefully the score groans and cries, the emotional stakes dwindle with each overemphatic narrative curve.
  9. It's got a strong cast and an intriguing premise that has the added bonus of real-world relevance. But, good intentions and good work aside, the film flounders before it reaches its conclusion.
  10. Garcia and Farmiga have such an easy, natural chemistry that their on-screen sparkle helps mitigate the film's weaknesses. At others times, it serves to underscore what might have been. It's a feckless conundrum.
  11. Unfortunately, the new film does not live up to the low-key charm of the original. It's essentially a long-form public service announcement extolling the virtues of animal adoption and decrying the scourge of unfettered dog breeding.
  12. McKay never quite catches fire as a thriller and, truth be told, it's not much of a character study either.
    • 53 Metascore
    • 50 Critic Score
    The Awakening just meanders like an aimless ghost.
  13. Cantinflas the movie tries to capture the magic of this much-loved legend, and it does so in fits and starts.
  14. By having Sigourney Weaver and Holly Hunter play the maniacs' feisty antagonists, the filmmakers seem to believe that they've made a significant feminist statement, the movie's two hours-plus of almost continual sadistic abuse of women notwithstanding. Even in an industry known for self-delusion, that is quite a feat.
  15. The Good Night has flashes of bookish wit but never quite recovers from the metronomic monotony of its first half, which ticktocks between scenes of Paltrow braying and Cruz voguing.
  16. Go see it. But you'll feel cheap in the morning.
  17. Director Eli Hershko and co-writer Christopher Theokas do a nice job with the relationship between Carla and Grandpa, but the other roles go underdeveloped. The filmmakers are even less successful with plotting, telegraphing every major turn.
  18. Everything has been significantly amped up -- bigger, louder, further removed from reality -- but it also feels that much more forced. Cage and Kruger seem like they're not having much fun this time around, and Bartha still gets the best throwaway lines.
  19. It's a missed opportunity. The premise is OK enough, even if it is like one of those old "Star Trek" episodes.
  20. Despite appealing features, including stars Emma Watson and Tom Hanks (who morphs his patented affability into casually sinister, Jobs-ian salesmanship), The Circle never builds up a head of steam as either dark drama, modern satire or dystopian thriller.
  21. An earnest but overly contrived and overly long tale.
  22. Good-natured comedy.
  23. Modestly entertaining film.
  24. 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.
  25. The story is poignant and compelling, but ultimately the film doesn't have the heft it needs to fill out the big screen.
  26. Sweet but dramatically inert.
  27. 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.
  28. 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.

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