Los Angeles Times' Scores

For 10,216 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Lorna's Silence
Lowest review score: 0 Eating Out: All You Can Eat
Score distribution:
10216 movie reviews
  1. Frequently affecting and mordantly funny, Somewhere Slow acquits Gilsig as a gifted actress and a producer with great taste.
  2. Kampai! For the Love of Sake serves as an occasionally enlightening if long-winded primer that will prove best suited to connoisseurs.
  3. The FP so desperately wants to be cultishly admired for its bad-taste rollout of wacko characters, ugly costumes and vulgar slang that it forgets to be genuinely offbeat or funny.
  4. Martian Child would like to be "About a Boy (Who Thinks He's a Martian)", but, disappointingly, it doesn't even come close.
  5. So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
  6. Don't look for The Sweeney to win any awards. It's not going to, not even close. But that doesn't stop it from being a briskly involving British crime entertainment of the old school. You've seen the type, and more than once, but the genre still has enough juice to take us for a ride.
  7. A plodding, squeaky-straight Time-Life tribute to the greatest generation, the movie plays like a commemorative plaque.
  8. Many of the transitions between narrative and music are rough. The temptations of the street, all too real in the real world, feel forced. Confrontations become clichés. The substance of human motivation is missing. And thus the heart never beats as it should.
  9. Has an edgy feel and a knockout soundtrack.
  10. The bulk of the movie is a series of sight gags and set pieces that wreak much havoc but little else.
  11. In the end, you'll either succumb to the silliness of it all and cheer Johnny B. on to his green card or, more likely, be in desperate need of your own exit visa.
  12. Much of Craig Chester's good-hearted love story Adam & Steve is silly and contrived, but the film boasts four engaging actors.
  13. The craftsmanship that went into the making of this film has to have been formidable, yet a key part of its enjoyment is its throwaway, unpretentious charm.
  14. It doesn't gel and lacks the kind of visual kinetic energy we’ve come to expect from films of this ilk.
  15. Pet
    Pet isn’t much more than a twist on an old conceit, and the character beats are painted with overly broad strokes, but it’s sharply shot with a crystalline sense of unease, and Monaghan and Solo lean into their creepy performances wholeheartedly.
  16. Sweet but dramatically inert.
  17. Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]
    • Los Angeles Times
  18. Just a good old-fashioned romance, one in which people actually bring out the best in one another rather than the worst. How novel is that?
  19. 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.
  20. Everything has been significantly amped up -- bigger, louder, further removed from reality -- but it also feels that much more forced. Cage and Kruger seem like they're not having much fun this time around, and Bartha still gets the best throwaway lines.
  21. As for the title, it's a nod to the jazz music that Don's off-the-grid dad shares with his more buttoned-up son. But, like most everything else here, it feels more contrived than authentic.
  22. Slater has some effective moments and Franco excels at a certain kind of scary/funny psycho, but it doesn’t ultimately add up to much as either pulpy trash or exposé.
  23. xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
  24. Both pleasantly old-fashioned and packed with up-to-date computer-generated special effects, the film's constant plot turns, cheeky sensibility and omnipresent action sequences have no trouble attracting our attention and holding on.
  25. A surefire heart-tugger made with skill and judgment, affords Keanu Reeves a career high point.
  26. It does not have as much invigorating freshness as audiences have come to expect in computer animation.
  27. Among other things, the characters in A Love Song for Bobby Long really know how to turn a phrase, in itself a pleasure so rare it all but demands any flaws be forgiven.
  28. The movie finally feels more manufactured than organic, a travelogue of portent, complete with plangent guitars and peopled by characters from the backwoods playbook.
  29. It’s bland enough to serve as a kind of palate cleanser at the end of a long and punishing moviegoing summer.
  30. In the end, Hannah Montana: The Movie is big, beautiful, a little boring and utterly safe. There are flashes of inspiration -- the "Hoedown Throwdown" dance, the scenes between Martindale and the Cyruses -- but it also is what it is: Miley Cyrus' next big step.

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