Los Angeles Times' Scores

For 7,702 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Cruise
Lowest review score: 0 Saw 3D
Score distribution:
7,702 movie reviews
  1. Not just any kind of trash, it's high-art trash, a kind of "When Tutu Goes Psycho" that so prizes hysteria over sanity that it's worth your life to tell when its characters are hallucinating and when they're not.
  2. What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
  3. Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
  4. Soon becomes a sadistic experience in its own right. Experiencing this pretentious wallow -- overwritten, under-thought and overdone -- is a very sophisticated form of torture.
  5. Aside from preserving these folks for a presumably grateful posterity and convincingly depicting Austin as an open-air lunatic asylum, Slacker does not offer much to anyone who likes to stay awake.
  6. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  7. There are two films at war in director Spike Lee's newest feature 25th Hour, one uninteresting, the other an epic of near-tragic miscalculation.
  8. XXY
    The genitally ambiguous as well as transsexuals and gay people deserve more than XXY's good intentions.
  9. George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  10. The Joker has been demoted into a broad-scale sociopath, without a tempter's power or a mythic villain's complexity. And that's the movie's real undoing. [23 June 1989, Calendar, p.6-1]
    • Los Angeles Times
  11. Without complexity to its characters, with little balance and without a hint of the personal, family or community issues involved, Colors becomes a movie that never has to ask "Why?"--a vivid, noisy shell of a film filled with eager young actors rattling along on the surface of a lethally important subject. [15 Apr 1988]
    • Los Angeles Times
  12. What's most troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the increasing realization that it actually thinks it's saying something of significance.
  13. Robot Stories isn't any good. I don't say this lightly. There's no pleasure in giving new directors bad reviews and it's especially unpleasant when what's wrong with their work isn't a clumsy performance or two, a sagging second act or a repugnant worldview, but a near-total absence of filmmaking talent.
  14. Alexander Sokurov's Faust is a grueling side show of a film, a morbid, mightily uninvolving piece.
  15. A paint-by-numbers version of an artist's life, Basquiat is amusing for all the wrong reasons, especially at those horrible moments when you realize you're supposed to be taking it seriously.
  16. The film is, perhaps, intended as a deadpan burlesque of race and class and beauty ideals...but it plays more as a boorish, overextended punch line.
  17. Stillborn, pointless piece of work.
  18. Turns out to be a tedious and under-inspired comedy.
  19. This noisy retread, a secondhand facsimile of a movie, is, except for the headache its boisterous sound level leaves you with, as forgettable as a bad day in the Disneyland parking lot.
  20. Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  21. So exasperating in its contradictions, so frustrating in its fakery, so deeply irritating in its pretensions, it's frankly hard to know where to begin to dissect it.
  22. It would be lying not to say that some of the moviemakers here aren't working at the top of their craft, or that the movie won't reach audiences. On its own terms, Kindergarten Cop is nearly fool-proof: the last word in glib, shallow, soulless, spuriously warm-hearted commercialism. [21 Dec 1990, p.1]
    • Los Angeles Times
    • 61 Metascore
    • 30 Critic Score
    Equally as perplexing as its lack of perspective is the film's overall shortage of information.
  23. Director Mikael Hafström's dramatic sense is so pedestrian and snail's-pace obvious -- since this 2003 feature, he's made the leap to Hollywood with the plodding thriller "Derailed" -- one starts biding time for the inevitable retributive smackdown that will save our hero from the gantlet of draggy high-mindedness about counteracting fascism with stony resolve.
  24. For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  25. You can leave Days of Thunder feeling positively chafed. That clanking noise, however, comes from Robert Towne's tinny story and its malnourished characters. [27 Jun 1990, p.1]
    • Los Angeles Times
  26. While adapting accomplished fiction such as this is a lure Hollywood can never resist, some characters breathe better on the page, and that is the case here.
  27. Unearthing even the roughest gems serves a programming purpose, but in this case it has also led to a theatrical release of a movie that looks like a muddy second-generation Xerox and contains all the emotional and intellectual appeal of cold tea and soggy toast.
  28. Might work on the stage but is merely tedious on the screen.
  29. By the time the heavy-handed Solomon & Gaenor is over, it has become such a punishing exercise in the self-evident that one is left numb and eager for escape.

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