Los Angeles Times' Scores

For 11,335 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jackie
Lowest review score: 0 The Red Pill
Score distribution:
11335 movie reviews
  1. What you may not expect is quite how satisfying much of the film is, with Duhamel turning out to be a very good sparring partner for Heigl.
  2. The drama often feels posed and inert. Even so, it strikes more than a few chords as it digs deeper than period cliché.
  3. It isn’t terribly exciting as a movie — director/co-writer Steven Chester Prince mistakes drab pacing as a stylistic match for the laconic charm of his lead actor — but the serious-minded humor has a probing sincerity that carries you along.
  4. Though his treatment of the subject is often superficial, Perlman makes a clear argument for the broader implications, especially for Western consumers.
  5. By the time the movie introduces an element of ambivalence in the story, lecture hall ennui has long ago set in, and no amount of jittery horror movie conventions can change it. With nowhere for any of the characters to go, literally, the story becomes a tendentious exercise in belaboring a point.
  6. While it's futile to pretend that Life Is Beautiful completely triumphs--it's simply too tough a concept to sustain--what is surprising about this unlikely film is that it succeeds as well as it does.
  7. To consider Harry and Max as being about incestuous feelings would be shortchanging it, because the film is really about the evolving nature of love and the need to define it.
  8. Huston is a sucker for sentiment, and Agnes Browne is a sap's holiday.
  9. Director Debra Eisenstadt, who also edited and co-wrote with Zeke Farrow, effectively draws us into Ken’s challenging world and conflicted psyche, aided immeasurably by actor-comic Dawes’ dimensional, empathetic performance.
  10. Jack and the Cuckoo-Clock Heart stubbornly remains less than the sum of its parts. But its rich visual imagery suggests the talented artists involved could create something exciting and truly original if they had a better script.
  11. While Chopra attempts to crack the American market with a slice of cinematic apple pie, he holds up a mirror to how Hollywood's tried-and-true narrative of vigilantism connotes who we are, at home and overseas.
  12. Detailed and intensely researched documentary.
  13. 31
    The Rob Zombie brand promises hard-core horror and scuzzy atmosphere, and “31” delivers just that. Even on autopilot, Zombie makes movies that hit hard and leave a stain.
  14. What emerges is a vague, often chilling impression of an unpredictable opportunist and provocateur who may not even be sure himself.
  15. Harding’s story, in this overly broad retelling, is not especially strong on narrative density — or, for that matter, ambiguity.
  16. If Leaving is a romantic parable, it is a dark and depressing one, emphasizing not the sensuality of attraction but rather the obsessive side of romantic behavior. This is mad love for sure, and that is not usually a pretty picture.
  17. A few stirring shoot-'em-ups help relieve the logjam of cliches. Director George P. (Rambo) Cosmatos does an OK job at the O.K. Corral. But even the good stuff goes on for too long.
  18. An ode to romance of the most starry-eyed sort, a sugary paean to quixotic clichés and a film destined to be a guilty pleasure for some (me included, sigh) and the painful price of a relationship for others (so steel yourselves).
  19. While the intended dramatic payoff proves a letdown, it doesn’t undo the allegorical power of the movie’s searing depiction of groupthink and its fallout.
  20. Like the television medium it genially satirizes, EDtv is a grab bag that's both amusing and frustrating.
  21. With actors this good, however, there's rarely a pinched expression, heartfelt speech or laugh line that isn't at least partly sold, even if the stunted-male psychologizing at the expense of the under-written women grows tiresome.
  22. The happenstance plotting and over-reliance on violence as a plot motor dissipate the film's energy by the end.
  23. The character mechanics... leave the viewer always feeling a step ahead of the story and its too-late-to-excite twists. As a portrait of violence-riven motherhood, however, Riseborough gives Shadow Dancer most of its grave power.
  24. Grainy as it looks in its massive Imax blowup, Mickey's misadventures with water and a broom still have the kind of magic even modern technology can't always manage.
  25. Shelton's affection for her characters is evident but it's not enough.
  26. Some stories drag while others have zing in this anthology; binding them is a compelling sense of cultural identity — the tension between tradition and free-market modernity.
  27. In the original, extended, unrepentant bad behavior results in bad consequences for the protagonist. In the remake, it gets the character some life lessons and a personal growth spurt.
  28. The approach isn’t always satisfying. Some clips could use more setup, or even just a basic explanation.
  29. The film sacrifices playfulness and humor to concentrate on a relentless display of elaborate but ho-hum gadgets and gizmos.
  30. Mission: Impossible proves something of a letdown, not just because it's fairly easy to guess who the bad guy is but also because we've hardly gotten to know anyone in the movie well enough to become more than superficially involved with them.

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