Los Angeles Times' Scores

For 8,106 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 0.4 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:
8,106 movie reviews
  1. The film's greatest sin isn't its cynical moral posturing but its complete failure to engage audiences on even a visceral level.
  2. The result is an exquisite yawn that provokes consideration of how accomplished Ben Kingsley, Fiona Shaw and Mira Sorvino and others are as actors -- but how in this instance the characters they play so intensely never come alive.
  3. Violet & Daisy comes out of the gate guns blazing. Too bad it ends as a misfire.
  4. Life, however, cannot be lived entirely on stage, and once the characters have to take off their thongs and return to their real lives, the film goes nowhere that is either interesting, involving or surprising.
  5. A tonal jumble, veering between forced farce and tired, rom-com beats, with little feeling real or true.
  6. At times, the narrative thread slips the movie's grasp and there are flat spots in which characters just scream and thrash. Given what its ending aims for (don't ask), such interludes feel flabby and gratuitous even with Sutherland and Spacek providing gravitas to the ghoulishness.
  7. Although director and co-writer Cutter Hodierne tells the story from the pirates' viewpoint, he adds no more dimension to them than the one we saw in "Phillips."
  8. As so often happens with love, what you hope for is not even close to what you get, and in this case we are left with a heartbreaking disappointment of a film.
  9. A cast this charismatic is bound to make something of the situation. In short bursts, the movie is alternately sunny and charming, dark and weird, confounding and dull.
  10. (Mamet) backslides to a system that has his speeches read in a stylized way. The result is language that sounds unhappily artificial and characters who behave like they are less than real.
  11. Salva manages a few inspired scenes... But the lasting image Dark House offers is of the screenwriters hurling everything they can think of at the wall.
  12. These characters, which Perry worked into the narrative from other stage performances, may have been entertaining in those venues, but they undermine the film.
  13. Features an aggressive, in-your-face romanticism that's noticeably lacking in genuine warmth. While its story of lonely misfits searching for love has appealing moments, more often it turns into an overbearing fable overburdened with fake joie de vivre.
  14. With a 21/2 -hour running time, Work Weather Wife does not lack ambition. But for a film deliberately channeling Bollywood, its scope seems rather Lilliputian.
  15. The four actors are very good, and it's a shame they aren't working from a more focused and original concept. Written by Fusco and Michael Garrity, there's nothing awful about Stealing Time except that it mixes familiar ingredients with pretty bland results.
  16. The merely depressing ultimately gives way to the contrived in Seth Zvi Rosenfeld's King of the Jungle.
  17. The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
    • Los Angeles Times
  18. For what is essentially a screwball comedy, Over Her Dead Body is surprisingly uninspired, a frothy concept that offers little satisfaction in the way of execution.
  19. Ultimately, Supercross is an example of how too much of anything will get annoying -- including VVRRRROOOOOOOMMM and flying bikes.
  20. Unfortunately, director Michael Lehmann's point of view is swivel-mounted: He doesn't have the courage of his cynicism. [31 Mar 1989]
    • Los Angeles Times
  21. Nothing clicks, nothing resonates, everything's broken.
  22. There are some crowd-pleasers - but Hotel Transylvania never becomes the great monster mash that seemed in the offing.
  23. That bland, opaque quality is a disadvantage here; whatever else [Depp] is capable of, making audiences feel his pain is not at the top of the list.
  24. Though the new film has some good things, it does not have enough of them to make the third time the charm.
  25. Blood's only surprise is that the filmmakers landed Gianna (also known as Gianna Jun, or Jeon Ji-hyun) for the lead. The South Korean megastar proves a more-than-capable action heroine, despite the creative detritus around which she has to navigate.
  26. The Roommate proves that the one thing worse than a crazy, stalker roommate is one that's boring, predictable and no fun.
  27. Although Reynolds rises above the rest as a father consumed by sadness and anger, The Captive quickly devolves into scenes that feel like stilted dramatic re-creations demanding a noirish voice-over by "Cold Case Files" host Bill Kurtis.
  28. The new Adam Sandler comedy has all the charm of a home movie that does not star your own family, which means it's overly sentimental, filled with you-had-to-be-there moments, bad jokes and even worse camera angles.
  29. For fans of Nunez's previous work, it's almost as if he put in all the clichés he would normally avoid and left out the wonderfully textured internal moments that made "Ruby" and "Ulee's Gold" unique.
  30. It's an intriguing setting — and set-up. But a lack of subtlety in the writing and much of the acting (particularly Circus-Szalewski and Ron Roggé as a pair of good cop/bad cop jailers) mitigate the power of the caged men's plights as well as the movie's intended tension.

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