Los Angeles Times' Scores

For 10,040 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Captain Phillips
Lowest review score: 0 Christmas Ride
Score distribution:
10040 movie reviews
  1. Smith may have some ways to go as a feature filmmaker, but he has given us a world of such grottily realized depravity that it feels like a story unto itself.
  2. If you want to see old-fashioned nonstop mayhem with stars so venerable that "The Leathernecks" (and I don't mean Marines) might be an alternative title, reviews are going to be superfluous. If you don't want to go, no review can change your mind.
  3. There are moments of beauty here, but not enough to make up for the mannered dialogue and hamstrung performances. Persons attempting to find a motive in this narrative won't be prosecuted, but they'll probably be disappointed.
  4. Cinematically, though, After the Cup lacks the intimacy and narrative focus needed for a more wholly involving experience.
  5. A movie-of-the-week treatment of race and class, the film credibly portrays the day-to-day workings of an urban ministry.
  6. With a hilarious script and capable cast, the film puts a clever spin on the everyone-is-a-suspect plot.
    • 68 Metascore
    • 60 Critic Score
    Charting its protagonist's agonizing slide into senility, the Japanese melodrama Memories of Tomorrow invites mostly unflattering comparisons with "Away From Her."
  7. A thoughtful but uneven film.
  8. Unfortunately, Dylan Mohan Gray's slow and steady exposé never quite manages the propulsive gut punch its incendiary subject demands.
  9. A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
  10. Sunset Song, Davies’ adaptation of a 1932 novel about a Scottish farming family, falls short of the intended cumulative effect, its emotional power undercut by its studied, episodic unfolding.
  11. A charming mess with moments of hilarity.
  12. To see this overly schematic movie, is to be made to feel -- inaccurately as it turns out -- that the whole thing is a hopelessly exaggerated fabrication. The taint of the melodramatic techniques used in key segments infects the entire movie and makes us question the truth of a significant historical reality.
  13. Bisexuality certainly increases the geometric possibilities of the romantic comedy, completing its triangles and allowing for quadrangles and other, more amorphous layers of amorous involvement.
  14. It’s an interesting concept and Fools executes it well enough, though too often it leans on ambiguity and odd interactions.
  15. What Spy Game turns out to be is the old reliable family car spruced up around the edges in an attempt to convince a new generation of buyers that it's a hot number.
  16. Unfortunately, this film is not as convincing as LaBute's first feature ("In the Company of Men"), for it betrays its origins in the theatricality of its dialogue, resulting in an aura of artificiality.
  17. These and wickedly funny backstage snapshots of moviemaking are the good times of Postcards, but even they can't hide its emotional starvation. [12 Sep 1990, p.1]
    • Los Angeles Times
  18. Sensitively directed by Ron Shelton and helped by what just might be the best performance of Kurt Russell's career, Dark Blue is as interesting and successful as it can be within its limits, but those limits make this a more generic film than its makers intended.
  19. A joyous, raucous, righteous film but also a frustrating and disappointing one.
  20. Although affecting and well acted, the family drama Bad Hurt is too airless and depressing to fully engage.
    • 42 Metascore
    • 60 Critic Score
    Even if Show 'Em What You're Made Of doesn't answer McLean's essential question of what men do after life as a boy band, the carefully crafted film is an engaging look at how they got to here.
  21. The gimmicky nature of the flashbacks weakens the story and lessens the film's suspense. Nevertheless, The Burial Society is a clever, spiritual film that argues that God sees all and, what's more, he's always right.
  22. It’s a gutsy, often off-putting piece whose eccentric little New York story and experimental vibe might have been better served by a short film.
  23. There's plenty of pacing verve in Costa-Gavras' technique, and the residue from that first thrilling peek inside the hermetic world of big-time money-moving never goes away. What's lacking is most surprising from this dissident filmmaker: the emotional outrage.
  24. The nagging lack of specificity with which the film concludes can’t help but call its entire dramatic construction into question.
  25. Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
  26. Undeniably clever and inventive, Babe: Pig in the City has nevertheless sacrificed part of the freshness and buoyancy that made the original "Babe" so luminous. This sequel is more elaborate, more calculated and more self-consciously dark than its deservedly beloved predecessor.
    • 65 Metascore
    • 60 Critic Score
    If Simon's hands-off approach precludes a thorough stock-taking of Dreier's misdeeds - numbers alone hardly tell the full story - the movie's subject obligingly avails himself of the ample rope.
  27. The Birth of a Nation certainly has the power of conviction, but the grace of art escapes it.

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