Los Angeles Times' Scores

For 10,763 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Searching for Bobby Fischer
Lowest review score: 0 Showgirls
Score distribution:
10763 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Assassin's Creed will be polarizing, but it's fascinating as an entry in Kurzel's oeuvre. It is singularly his film — both in style and the obsession with hubris, power and violence.
  5. The animation style mirrors the original, which is simple in an appealing way. It is particularly effective in the action sequences, which make the most of animation's ability to create a playful reality. But the multi-layered historical references designed to be adroitly wry are a trickier gambit.
  6. Though the story is drawn in broad strokes and overloaded with melodrama, director Mat Whitecross' exuberant feature understands the communal joy and personal necessity of rock 'n' roll.
  7. Director Paul Anderson, whose last film was "Mortal Kombat," well knows how to build suspense and increase tension. But counterbalancing all of that is Event Horizon's position as a sci-fi splatter film, intent on drenching the screen in blood and gore whenever possible. [15Aug1997 Pg 16]
    • Los Angeles Times
  8. “Beside Bowie” could use more structural rigor in the edit, but it’s an illuminating film about a man who deserved more shine.
  9. A visually wondrous experience in high-contrast black and white, bogged down by a slow, underwrought story and uninvolving characters. It would be easy to dismiss it as another great-looking film with little else to offer, but that wouldn't be entirely true.
  10. The result is a sure-fire crowd-pleaser that will strike Chen's admirers as a heartfelt but decidedly minor effort.
  11. The problem with The Runaways is that they went with the wrong girl.
  12. Comedy is ever an effective weapon against hypocrisy and oppression, but to be effective it has to cut a lot sharper and deeper than it does in You I Love.
  13. Deliberate silliness is hard to sustain, but Undertaking Betty pretty much succeeds.
  14. It's just that there isn't enough story - the book shouldn't be required reading for the film to make sense.
  15. Make no mistake, Vamps is mostly a misfire, but Heckerling still shows enough flashes of wit and wisdom that she remains hard to entirely dismiss. Don't bury that coffin just yet.
    • 59 Metascore
    • 60 Critic Score
    Ecological passion meets unquenchable self-aggrandizement in the beautifully filmed deep-blue-alert documentary Sharkwater.
  16. You get the sense that Kelly is too angry to really find any of it funny. It's easy to empathize with his position, not so easy to remain engrossed in a film that's occasionally inspired but ultimately manic and scattered.
  17. To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.
  18. The only real reason to catch Eros is to see Wong Kar-Wai's beautiful opening piece, "The Hand."
  19. There's a spirit of generosity to How High that allows many performers to shine beyond its sharp and amiable stars.
  20. Surprise after surprise follows in this increasingly dark comedy, which is loaded with sharp observations and exceptionally complex characterizations.
  21. Endearingly uneven.
  22. The movie is pleasant and charming, but when making a big-screen adaptation of a beloved classic and genuine touchstone for generations, adequate doesn't feel like quite enough.
  23. A leisurely, understated film reminiscent of any number of Japanese counterparts featuring quietly heroic rural teachers. It is easy to label the film as slow, old-fashioned and sentimental, which it certainly is, but it has the tenacity of its heroine, the pretty and intelligent Melinda (Alessandra de Rossi).
  24. Moss brings warmth and dignity to a part that could've easily slid into stereotype, while Camryn Manheim owns her few scenes as Amanda's best friend.
  25. As a diverting way to blow 90 minutes, you could do far worse than this gritty, sometimes nasty, mostly absorbing potboiler.
  26. The film's plot...is more contrived than creditable, motivations are not always clear, and some characters, for instance Kiefer Sutherland as a praise the lord and pass the ammunition Marine, are not very convincingly acted. [11 Dec 1992]
    • Los Angeles Times
  27. An engaging and forthright documentary.
  28. Chittenden and Tzu-yi are expressive actors, but, like the film itself, are hamstrung by the project's self-imposed confines.
  29. The movie is like a big, smug, sunny ball of fluff, batting around in a crystalline cage. It's bright and well-meaning, but there's little to grab onto or feel. Not even the presence of those expert actor/farceurs, Steve Martin and Diane Keaton, give it any real presence or bite. [20 Dec 1991, p.16]
    • Los Angeles Times

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