Los Angeles Times' Scores

For 9,506 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 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Half Nelson
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
9506 movie reviews
  1. In one punchy way it's feverishly, genre-shakingly different. That difference makes the movie almost work. Almost.
  2. Last Action Hero does have occasional moments of humor, but overall it is lacking in fun or magic. [18 Jun 1993, p.1]
    • Los Angeles Times
  3. Chen's excessive propriety veers treacherously close to barely disguised repulsion.
  4. It too has no particular reason for being (except, of course, to complete the series and cash in). It's sprightly and inoffensive, though. And, for those who care, it satisfyingly ties up the various plot strands that were flapping in the breeze from the last installment. Back to the Future futurists will feel complete. [25 May 1990, p.C1]
    • Los Angeles Times
  5. In the end, it all can't help feeling a little slight, more a pleasant wade into a writer's neurotic playground than a satisfyingly deep dip.
  6. A peppy affair that works in fits and starts but is unable to put its successful moments together in any consistently satisfying way.
  7. Edmond does, on the surface, seem very much a contemporary tale of urban terror. Yet despite the best efforts of all concerned, what seemed explosive and provocative two decades ago now comes across as schematic and artificial.
  8. While Amma's teachings of love, inner peace and Karma, or action, resonate in the film -- obviously, Amma is a woman called to God -- her background remains pretty much a mystery. Less National Geographic and more personal history would have added a dimension to "Darshan."
  9. Cthulhu isn't awful, but it isn't particularly compelling either.
  10. It's got enough formulaic flair to make it a guilty-pleasure cousin of seaborne nailbiters "Knife in the Water" and "Dead Calm."
  11. That writer-director Jessica Hausner moves things along at such a glacial pace and fills her velvety frames with the equivalent of museum-quality oil paintings instead of with living, breathing humanity, only adds to the film's turgid quality.
  12. The Conrad Boys reveals little cinematic instinct or imagination but has a deeply personal quality that becomes engaging.
  13. Unlike "In Bruges," the outlandish parts of Seven Psychopaths, though often bleakly entertaining in their own right, remain a collection of weird riffs that not even engaging acting by Colin Farrell, Sam Rockwell, Woody Harrelson, Christopher Walken and Tom Waits can bring together.
  14. The Other Son is a case of good intentions overwhelming the inherent drama - quite simply, political correctness got the best of it. The French director is so focused on covering all the bases, and ensuring a sense of equal empathy - and screen time - for the plight of both families, she leaves the film struggling to get beyond a log-jam of life lessons.
  15. There's no real rigor or craft applied to this story -- just mood, tone, neo-gothic imagery and frantic attitude. If only Penelope knew what it truly wished to be and how to go about it. Which is probably what this overly coy fantasy's modestly appealing title character wishes as well.
  16. A focused, if at times melodramatic, take on the play's beating heart.
  17. There isn't enough mystery and ambiguity around the murders to create a sense of fear or dread, yet there's something rather effectively creepy and compelling, with its retro thrills and chills
  18. Unfortunately, this well-acted cautionary tale is hampered by a lack of visual finesse and a script in need of a narrative rethink and a dialogue polish.
  19. Director Spencer Susser, who wrote the film with David Michod, has a kinetic filmmaking style and an impish, crash-and-burn sense of humor that keeps sentiment at bay long enough to let us appreciate the loose, uncomplicated performances from a cast that includes suddenly ubiquitous Oscar winner Natalie Portman.
  20. Boorman's stars Juliette Binoche and Samuel L. Jackson are valiant - even impressive - but they cannot rescue this grueling film or its mechanical plot.
  21. Director Bernardo Ruiz never manages to weave the multiple narratives into a complex but cohesive big picture.
    • 47 Metascore
    • 50 Critic Score
    It's a more polished, high-fidelity version of a story that's played out on screen many times since 1978, but once Zombie runs out of subtext, he's right back to the same old slasher text: "Blood. Guts. The end."
  22. Clocking in at 2 hours and 32 minutes, it is unforgivably leisurely, almost glacial, a film that loses its way in the thickets of alternative history and manages to be violent without the start-to-finish energy that violence on screen usually guarantees.
  23. Illustrates what happens when a viable premise is spoiled by sheer preposterousness.
  24. It is not a terrible movie, and Stallone has appeared in far worse. It's just that, although diverting, it's too routine for its own good.
  25. The intricate plotting that distinguished the book overwhelms the movie.
    • 54 Metascore
    • 50 Critic Score
    So grimly determined to be even-handed that it never generates tension.
  26. With preposterously convoluted plot twists, not even Grant is enough to make us smile all the way through the end.
    • Los Angeles Times
  27. The actors give their characters a resonance beyond the symbolic, but the action doesn't quite transcend the stagy setup.
  28. James and Beth have fun in a grocery store pretending to be different characters meeting in the aisles. As they learn, sometimes the moment works, sometimes it doesn't. The same can be said for this unfailingly modest film.

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