Los Angeles Times' Scores

For 10,355 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 EX LIBRIS: New York Public Library
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
10355 movie reviews
  1. For much of its duration the film is a case of intense fare done with an undeniable effectiveness and ingenuity -- until it lurches into a deplorable surprise twist.
  2. More than a few times, the film feels choppy, sloppy or paltry. But Wall gives a sympathetic performance as a man facing his final stand. And even at its pulpiest, Happy Hunting has a point to make — about how in modern society we often use the pretense of morality to justify base savagery.
  3. Though the cast ends up looking good, the film's unwillingness or inability to have things add up hurts everyone's efforts.
  4. The result is not quite a horror movie (too cheerful and can-do) or a thriller (too cheerful and stupid), nor does it parody itself or take itself seriously, thereby canceling out the camp factor. It's more like an improv sketch at 30,000 feet.
  5. The film's overall presentation...feels a bit too cloistered and the subject perhaps too limited for feature-length attention.
  6. The film is helped by Costner's self-deprecating, aw-shucks charm. The actor is game whether he's being asked to fight off truculent teens or treacherous terrorists.
  7. Even though Drool rambles and ultimately slides into overly obvious make-believe, Kissam emerges as a fearless risk-taker of promise.
    • 55 Metascore
    • 50 Critic Score
    Distressingly short on creative spark or historical illumination.
  8. It's a product of the highest quality, but at the end of the day that's what it is: a machine-made, assembly-line product whose strengths tend to feel like items checked off a master list rather than being the result of any kind of individual creative touch.
  9. Wingard’s movie, for all its abundant mischief, doesn’t trust the power of its own illusion. You can see these woods a lot more clearly now, and what you see is that you’ve been here before.
  10. Although What If nobly attempts to honor and embellish the tropes of the genre rather than reinvent them, the filmmakers get tripped up on their own good intentions and uncertain comedic instincts.
  11. Simultaneously jokey and scary, sentimental and ruthless, tediously everyday and grotesquely out of the ordinary.
  12. The all-star cast is uniformly good, but the script lacks any sort of nuance to temper the pandering lecture.
  13. A movie that's more convoluted than satisfying.
  14. If only Spread were half as entertaining as a Van Halen video.
  15. May be too heady for some tastes but can stir you deeply, if you're open to it.
  16. Many viewers will find it challenging to see the substance hidden in the documentary’s over-the-top style that makes Michael Moore’s directorial stamp look subtle.
    • 36 Metascore
    • 50 Critic Score
    Turistas seeks to exploit the current craze for torture-porn, but it lacks the relentless sadism of the "Saw" franchise. More than half the movie is dull buildup.
  17. It’s a warm, uplifting portrait of the potentials to be found in startup culture, but feels blinkered by its specific focus.
  18. Shot on grainy, often blown-out and distorted consumer-grade video, scored to a feedback distortion-heavy soundtrack that will be familiar to fans and tinnitus sufferers alike, and clocking in at one merciful minute under three hours, Lynch's much-anticipated follow-up to "Mulholland Drive" signals a hale swan-dive off the deep end, away from any pretense of narrative logic and into the purer realm of unconscious free association. I found myself pining for "The Elephant Man," but that's just me.
  19. Keaton and Ted Danson, who plays her husband, Don, are the comedic bright spot in the movie, not least because they are ridiculous.
  20. 21
    What might have been a complex story dealing with greed and high-stakes betrayal among the young intellectual elite in America's gaming playground is instead treated as a slick, glossy romp.
  21. Unfortunately, it takes director D.J. Paul a while to lend shape to this chatty, free-form material -- it would really make a better stage play -- and to distinguish writer Joseph "Bo" Colen's authentic-sounding but unevenly drawn characters.
  22. A tedious, precious fantasy.
  23. The movie does what it sets out to do: stranding the viewer in a dark place, surrounded by remorseless predators. It’s an old recipe that can still please a crowd.
  24. The film clearly comes from a place of deep knowledge about the intricacies of schizophrenia but has an unfortunate tendency to overexplain itself.
    • 58 Metascore
    • 50 Critic Score
    A spoof, sometimes a funny one, and sometimes just plain overkill.
  25. Although Head Over Heels moves swiftly, has an appealing cast and a serviceably diverting plot, it is nevertheless hard to fall head over heels over it.
  26. The messy relationships and sexual predilections make for an equally messy plot, which distracts from the film's strength — depicting the truths of a romantic relationship that's past the initial excitement and the selective memories of love lost.
  27. Since the film is based on the Atari video game of the same name, it also has much to appeal to headbangers: fast pace, lots of gadgets, monsters, explosive special effects, plenty of inscrutable plot twists and turns.

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