Los Angeles Times' Scores

For 7,559 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Muriel's Wedding
Lowest review score: 0 Don Peyote
Score distribution:
7,559 movie reviews
  1. Whereas Haneke's films grapple with the blunt force of violence, novice filmmaker Markus Blunder just lets the violence snowball all the way down a slippery slope.
  2. This tonal mishmash is a misfire of literally gross proportions.
  3. Carmine Gaeta and Luke Davies' screenplay is constructed from plot mechanics, and the emotional stakes grow less convincing with every twist of the screw.
  4. Simultaneously overblown and underdeveloped, "Iceman" fails equally at showcasing the talent of its star and resolving its baroque plot.
  5. The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
  6. It's not awful, but the high cost of a movie ticket these days seems like a steep price to pay for 90 minutes of air conditioning and production design.
    • Los Angeles Times
  7. This is a film that almost is not there.
  8. When the outtakes at the end don't make you laugh, what does that tell you about the movie that preceded them?
  9. Spears acquits herself as well as anyone might, in a movie as contrived and lazy as this one.
  10. The result is a comedy of errors. Errors, yes. Comedy . . . we're not so sure.
  11. Fat, homely men who feel they have been wrongly underrepresented in underwear ads should flock to The Last Man.
    • Los Angeles Times
  12. Formulaic new teen opus
    • 31 Metascore
    • 20 Critic Score
    A flat-footed film.
    • 16 Metascore
    • 20 Critic Score
    Has promising raw material to burn--and that's pretty much what's been done.
  13. A broad and stale British crime comedy that wastes the considerable talent and presence of Minnie Driver.
  14. A routine shoot-'em-up, with the triteness of Scott Busby and Martin Copeland's script exceeded only by the flatness of Steve Miner's direction.
  15. A dreary indulgence. An unfunny satire set in the world of daytime soap opera, it isn't offensive enough to inspire passionate response.
  16. Soon becomes a sadistic experience in its own right. Experiencing this pretentious wallow -- overwritten, under-thought and overdone -- is a very sophisticated form of torture.
  17. If Penélope Cruz were any less attractive, maybe someone would have noticed how dull this mild, would-be romantic fairy tale has turned out.
  18. Smartly shot in digital and transferred to 35 mm, suggests that Evans needs more seasoning to make genre conventions and characters work for him rather than against him.
  19. As pretentious as it is hard-core specific, this fiercely anti-erotic film makes even the chilly "Eyes Wide Shut" play like "The Big Easy."
  20. It ought to be delightful, but it isn't.
  21. Lays thick, goopy layers of uplift on what should be lighter on the heart and stomach.
  22. So exasperating in its contradictions, so frustrating in its fakery, so deeply irritating in its pretensions, it's frankly hard to know where to begin to dissect it.
  23. All this sadness becomes so depressing to watch, testing the limits of the patience of even a viewer prepared to take Wang's underlying concerns seriously.
  24. Asks us to spend 101 minutes with people most of us wouldtake pains to avoid in real life.
  25. Where there was a modicum of charm to Mick Dundee's earliest exploits in New York City, the joke has withered as markedly as Hogan's face.
  26. This is a Laura Ashley on Safari meditation on bored rich people searching for fulfillment and a new life among the photogenic wildlife of Kenya. Just wake me when it's over.
    • tbd Metascore
    • 20 Critic Score
    It's hard to tell if My 5 Wives is so completely dumb that it's impossible to be offended by it, or so completely offensive that it's just dumb.
  27. Sporadically funny, often strange and almost never poignant.

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