Los Angeles Times' Scores

For 10,465 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% 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 Apocalypse Now Redux
Lowest review score: 0 Dead Silence
Score distribution:
10465 movie reviews
  1. Without pandering to audience sympathy, Silverman's dark shadings lend something unexpected and real to the role.
  2. While the action is brisk, the film never feels in a hurry. Walken and Pacino amble through their paces. Arkin ups the adrenaline any time he's around, and he is not around quite enough.
  3. It's impossible not to root for these driven, high-spirited participants - and for the longevity of this invaluable program.
  4. Southpaw is so logic-defying it takes on a Frankenstein life of its own, especially with as energetic and focused an action maestro as Fuqua ("Training Day," "The Equalizer") in charge.
  5. The stories are interlinked effectively, and the film strikes an upbeat note yet does not address racism and discrimination. For all its affection toward its characters, however, the film is too long and too slack.
  6. Though Girls Rock! is nothing if not well meaning, it doesn't always feel like the best possible film on the subject.
  7. The latest in Hollywood's almost biblical procession of disaster films, Deep Impact tries with moderate success to be more than just the sum of its special effects.
  8. Though its elusive character is undoubtedly part of its strength, Dogtooth ends up feeling somehow like a dodge and a sidestep. As a film, it's pure and singular, but it's not quite fully formed enough to be what one could call truly visionary.
    • 52 Metascore
    • 60 Critic Score
    This isn't merely a horror film about things going bump in the night, but a study of the effects of desolation on our sense of personal consciousness.
    • 65 Metascore
    • 60 Critic Score
    Skipping from one story to another and scrambling their relative chronologies, Drama/Mex presents a flashy package, but that only reveals the paucity of its ideas.
  9. That the movie works as well as it does is a testament to writer-director Thomas Farone's persistence and clear connection to his cagey material.
  10. As with the DeMille ventures, enjoyment here involves managing expectations and not taking things too seriously.
  11. Despite the riveting performances of Renfro and McKellen, we're left with classic horror-movie sociopaths, evil-doers without conscience, or much to say about the nature of evil.
  12. The new thriller from South Korean director Park Chan-Wook is a bizarrely perverse, beautifully rendered mystery that you may or may not care to solve.
  13. Mendes is charismatic and likable as Grace - perhaps too likable. Conveying Grace's parental blind spots, she doesn't turn her character's single motherhood into an argument for sainthood. Yet she avoids any darker glimpses that would lend a more satisfying complexity to the mother-daughter tension and to the movie's too-neat ending.
  14. Lurie undermines his high-wire act with the melodramatic carryings-on of the diner patrons.
  15. Stewart acquits himself solidly, though not thrillingly, as a beginning director, doing especially well in the film's involving central section dealing with Bahari's time in prison, where the filmmaking is as compelling as the feature's intentions are admirable.
  16. Two-Bit Waltz is watchably imitative, arch nonsense. It has committed performances — including a deadpan turn on the edges by William H. Macy as the dad who's only seen reading books — and the occasional, provocatively funny line of dialogue.
  17. The two men collaborate so well, in fact, that the real love match of Appaloosa is between the two of them and no one else.
  18. There is enough ridiculous fun in the Tracy Morgan- Bruce Willis pairing as two of Brooklyn's "finest" to get many of you past the squirm-inducing stuff.
  19. Nakache and Toledano...pepper the film with enough stirring emotional beats, crowd-pleasing bits...and vivid supporting characters such as Samba's ebullient immigrant pal, Wilson (Tahar Rahim), that there are distinct pleasures to be had.
  20. The bookish group at the heart of this talky film is having such a grand time trading tart exchanges their mood proves infectious. The sparring helps offset some of the contrivances that make Liberal Arts less buttoned up than it should be - so an A for effort and a C for execution.
  21. While there's regrettably nothing terribly witty or surprising about any of this as either love story or laugh machine, director Scott Marshall does manage a breezy, good-natured tone toward this oft-mocked cultural phenomenon that allows for eye-rolling and smiling in equal measure.
  22. There is more to admire in A Beautiful Mind than you might suspect, but less than its creators believe. When the film does succeed, it almost seems to do so despite itself.
  23. Phantom is a relatively tight, gripping story told with efficiency that makes room for its fine roster of actors to explore old-fashioned ideas on honor and loyalty.
  24. Ironically this big, lumbering movie could have used more, not less. More Godzilla without question, and more emotional content for its very good cast too.
  25. You can't roll monstrous boulders straight at audiences any more and have a whole theater-full duck and gasp with fright--and pleasure. We may be plumb gasped out. And although Harrison Ford is still in top form and the movie is truly fun in patches, it's a genre on the wane. [24 May 1989, Calendar, p.6-1]
    • Los Angeles Times
  26. The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.
  27. Though the film is well made, the all-aftermath approach to Meadowland leaves a lot — an establishing, enlightening character stability, for one thing — to be desired.
  28. The grubby melodrama should appeal to adventurous moviegoers — and to the director’s small-but-fervent cult — but even that crowd should brace themselves for something slow-paced and opaque.

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