Los Angeles Times' Scores

For 8,094 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 Ponyo
Lowest review score: 0 What Love Is
Score distribution:
8,094 movie reviews
  1. Despite some absolutely gorgeous animation and adjusting expectations for what Clone Wars is meant to be, the Force is not strong with this one.
  2. This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
  3. 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?
  4. 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.
  5. It's a strong story of lonely, even futile righteousness, which makes the plodding execution by director Arnaud des Pallierès somewhat mystifying.
  6. 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.
  7. 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.
  8. 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 ;).
  9. 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.
  10. 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.
  11. Another traditional Japanese production, weakly plotted, woodenly acted and indifferently dubbed.
  12. 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.
  13. 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.
  14. Lacking noticeable energy or drive, its almost visceral distaste for dramatic momentum is puzzling, especially in a film about the black arts.
  15. 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.
  16. The sense of place is as strong as the narrative is wobbly. The strongest character is the Louisiana.
  17. The leads aren't only miscast -- Brody over-mopes and the usually wonderful Ruffalo seems out of sorts as a rascally schemer -- but interest in the con plot fades as the director's bag of tricks empties further.
  18. The promise it begins with doesn't pay off. And while Arthur Newman is not a complete disaster, it does leave you wishing the romance and the ride had been a whole lot smoother.
  19. Wasabi dawdles and drags when it should pop; it doesn't even have the virtue of enough mindless violence to break up the tedium of all its generational bonding.
  20. Scenes can drag; they at times pay homage to the filmmaker's memories rather than drive the narrative forward.
  21. Lacks any sort of urgency or inner propulsion; the actors do their little goofs, then hand them off to the next, lending the jest the frolicking but ultimately monotonous quality of a game of tag.
  22. It's an irrefutably bad movie, littered with paper-thin characters, crummy dialogue and a mawkish undercurrent that wells up any time it starts to resemble something smarter and snappier. Yet it is somehow redeemed by Murphy's agreeably quirky performance in a horribly underwritten role.
  23. The sort of noisy nonsense that Woo's earlier action movies made irrelevant, but alas not extinct.
  24. Despite its obsession with décolletage, Bitch Slap is surprisingly puritanical (much teasing, no pleasing), substituting plentiful violence and a howlingly predictable "shock" ending for the payoff it promises.
  25. Goon feels like a movie starring a gimmick, not a person.
  26. [Minn] runs around with a microphone in hand like an if-it-bleeds-it-leads ambulance chaser, playing out that local news reporter stereotype often spoofed in mockumentaries.
  27. An empty enterprise that provides a few moments of goofy fun, Mirrors reflects back nothing.
  28. Shoot on Sight has good intentions but winds up a thematically simplistic, dryly plotted and perfunctorily shot melodrama, one of those movies where dialogue is there to categorize people, not parse the complexities of human beings.
  29. The film aims for a light social satire but mainly falls flat. It feels more like a long-lost pilot for some never-aired 1970s sitcom or a misguided sequel to a Billy Joel song.
  30. Reunion is an awkward compound of paradoxical tones and ideas... But one shouldn't underestimate Perry's ability to make such contradictions work and get away with the most wretched excess.

Top Trailers