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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 All Is Lost
Lowest review score: 0 Formula 51
Score distribution:
8,040 movie reviews
  1. Sydney White is a carnival of ethnic and social stereotypes that are rising up against the lily-white status quo. In Hollywood, blond princesses and fairy tales die hard.
  2. With good intentions and a warm heart but undone by uneven performances and shaky storytelling, Bob's New Suit never quite finds the right fit.
  3. Slyness, slapstick and sex can often be mixed to amusing effect whatever the specifics — the original "Hangover," for example, did a credible job of it — but The Other Woman is ultimately undone by its indecision.
  4. Franco is a refreshingly offbeat screen presence and in lighter moments boasts an appealing smile. He may be someone to watch, but too bad there's little room for emotional spontaneity - acting, in other words - in a rote Hollywood drill such as this.
  5. There's more than a little Oedipal melodrama tossed into the mix. But the movie rarely gets as sappy or as contrived as one keeps expecting.
  6. For an action thriller based on a Dick story, Next is peculiarly low-tech and hokey.
  7. Solid performances aside, closing-credits comments from the movie's crew members on marriage and divorce offer fresher insights than any of the story's run-of-the-mill shenanigans.
  8. A movie that desperately wants her (Latifah's) hip, her edge and mostly her blackness but doesn't know what to do with the human being who comes with the package.
    • 64 Metascore
    • 40 Critic Score
    Lurie spins off into invention like a "Law & Order" writer on deadline, scrambling the issues so thoroughly it's no longer clear what, if anything, the movie is meant to address.
  9. A lot of uneven acting is also no small detriment to this frequently awkward film's credibility.
  10. Yet for all its ballyhooed candor about sexual matters, it's a surprisingly baffling and opaque film, too artistic to be standard pornography and too zealously focused on being graphic to the exclusion of all else to succeed as drama.
  11. [An] earnest but terribly ham-fisted drama.
  12. Chen's grand opus about the perils of the Internet already feels obsolete.
  13. Related to the 1953 Vincent Price film in name, embalming technique and Warner Bros. pedigree only, the new House of Wax is a dreary, predictable tale.
  14. First-time Spanish director Jorge Dorado aims for Hitchcock and misses by a mile with Anna.
  15. Too often we feel that left-out-in-the-cold draft that blows over the shoulder whenever actors appear to be having more fun than the audience.
  16. The inherent cinematic potential of one of nature's cutest animals rescues the film from being a total waste of time.
  17. Most depressing is the spectacle of Debbie Reynolds in the de rigueur Betty White role - Hollywood having relegated seniors to the category of adorably "outrageous" while it caricatures single women as desperate updates on romance-novel heroines.
  18. A campy, hopelessly amateurish vanity production.
  19. They never generates any real fear until its last minutes, by which time it is too late to redeem the dull events that preceded them.
  20. A tedious experience.
  21. Writer-director David Hayter revisits much-trod territory with wan results in Wolves, a werewolf tale that quickly loses its initial bite.
  22. Paa
    The film is no more than a tedious, over-long Bollywood soap opera.
  23. Meanwhile, Mirren, that grande dame of cinema, just seems tired. And who could blame her? She's in the midst of this disaster, literally and figuratively dying right in front of us. Made me want to cry, just not for Arthur.
  24. Certainly, Malkovich's portrayal of mob lieutenant Teddy Deserve (!) and his lacquered swagger represent the only thing here that you haven't seen a hundred times before.
  25. A "Saw" knockoff without the torture porn.
  26. It's too labored and ponderous to qualify as a so-bad-it's-good amusement. Original Sin is merely an old-fashioned bore.
  27. Goes into a tailspin after its impressive setup. Its dramatic tactics become so tangled and diffuse that, by the end, you get the feeling that everything gets tied up too hastily.
  28. You have to be a bit of an arrested adolescent to think "Larry" is funny.
  29. We're more than 45 years out from Roman Polanski's director-controlled masterpiece in gestating terror, and yet no gimmick in Devil's Due — no point-of-view shock cut or shaky-cam "realism" — is as dread-inducing as tracking the grim revelations on Mia Farrow's face.

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