Los Angeles Times' Scores

For 8,253 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Testament of Youth
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
8,253 movie reviews
  1. 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.
  2. Goon feels like a movie starring a gimmick, not a person.
  3. [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.
  4. An empty enterprise that provides a few moments of goofy fun, Mirrors reflects back nothing.
  5. 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.
  6. 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.
  7. 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.
  8. Unfortunately, by the end, thanks to a misguided use of a few offensive slurs against gays and African Americans, the whole thing turns needlessly ugly, undermining the goodwill Cross had mustered.
  9. But the result is no more than a forced fable, a self-consciously smarty-pants concoction that is too clever by half and too pleased with itself in the bargain.
  10. Has much that tries for outrageous camp, but too much of it plays like a crude travesty of overly familiar Southern decadence. It needed a director who knows how to stylize intense theatricality rather than merely revel in it in wobbly fashion.
  11. With The Rose Technique, producer-writer Ray Stroeber came up with a promising idea, but director Jon Scheide plays this pitch-dark comedy far too straight.
  12. Not so much a remake of a film as it is a remake of an overcooked performance--a case of ham imitating ham.
  13. Gallops along at a quick, easygoing clip. Grown-ups may have to scrub the sugar from their frontal lobes. But it's not about them, is it? Never was. Never will be.
  14. Does go on too long, leading to inevitable dead spots.
  15. Working with cinematographer Karl Walter Lindenlaub, director Caton-Jones has givenRob Roy a beautiful wide-screen look, filled with gorgeous vistas. But this film is like a color Xerox copy of the real thing: hard to tell from an original until you look closely at the details.
  16. While a foreign regime exerting its emergent power over America certainly has a familiar ring to it, if anything, this new Red Dawn is a movie in search of its moment.
  17. Though Waterworld has some haunting underwater visual moments, the film's impact is weakened by flat dialogue, an overemphasis on jokeyness and a plot that, despite all those screenwriters, does not satisfactorily hold together at any number of points.
  18. This one's for the conspiracy-minded only.
  19. It's an ambitious film drenched in sincerity and oozing with nostalgia that, despite the energy provided by its title icon via archival footage, falls flat dramatically in nearly every other way.
  20. Main lure is what feels like a very authentic visual sense of the nontourist side of Kingston, where the ambience of zinc-walled shacks wallpapered with old newspapers is captured by cinematographer Richard Lannaman.
  21. While the film does not lack production values and panache, Gordon's direction often seems thoughtless.
  22. Both too unfocused and overly familiar. It has enough comic energy to generate some chuckles, but even when we laugh we're always wondering why the jokes aren't funnier. [5 Mar 1999]
    • Los Angeles Times
  23. It's not so much a movie as a series of running antiquity gags, good for a comedy club, not so much for the multiplex.
  24. LaPaglia, Feeney and Stoltz soldier bravely through an uninspired, airless script.
  25. Whether you care if they find them (terrorists) or not may depend on how much you've been able to withstand Bad Company's sensory overload of firefights, vehicular mayhem, techno-cool swagger and enough bumptious contrivances to fill several seasons of daffy prime-time soaps.
  26. A new teen fantasy movie, is indeed loaded -- with things you've seen many times before.
  27. By consistently and relentlessly overplaying everything, by settling for standard easy emotions when singular and heartfelt was called for, by pushing forward when they should have pulled back, director Joe Wright and screenwriter Susannah Grant have made the story mean less, not more. Instead of enhancing The Soloist's appeal, they have come close to eliminating it.
  28. The script, co-written by director Georgina Garcia Riedel and Jose Nestor Marquez, plays like a first draft that misses out on comic opportunities.
  29. McGuinness has a commendable grasp of visual textures and rhythms. It will be interesting to see what she does with a stronger story to tell. Here, reaching for dramatic effect, she comes up empty.
  30. Writer-director Anders Morgenthaler's conclusion comes far too hastily and haphazardly, with a disregard for plot details or plausible storytelling.

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