Los Angeles Times' Scores

For 7,840 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: 61
Highest review score: 100 Fleeing by Night
Lowest review score: 0 Stolen Summer
Score distribution:
7,840 movie reviews
  1. It's slick nonsense at best and for the first hour it's watchable. There's cheap entertainment to be had from a thriller in which two detectives are played by beauties as ravishing as Jolie and Martinez.
  2. Suffers from being neither here nor there. In its rush to modernize its story and attract a young audience with stars like Ethan Hawke and Gwyneth Paltrow, the film ends up problematic both in relation to the original and on its own terms.
  3. A provocation, a coup de théâtre and three hours of tedious experimentation.
  4. A fairly silly and ultra-gory schlocker/shocker.
  5. An ambitious and intelligent film probing that chronic contemporary phenomenon, the seemingly senseless crime, but it is ultimately unsatisfying for all its efforts and various pluses.
  6. Driven by different agendas, history and movies often tell two irreconcilable stories, which is why, despite some glints of talent, Hancock has given us yet another film and another Alamo to forget.
  7. What is disturbing and frankly distasteful about The Girl Next Door is how slick and shameless it is in its eagerness to blur boundaries, to squeeze as much transgressive material as it can into a nominally bland and innocent form, to serve up a benign, sanitized and exquisitely titillating portrait of the world of pornography in the cozy sheep's clothing of a teenage movie.
  8. A lot of uneven acting is also no small detriment to this frequently awkward film's credibility.
  9. Could be a tough go for those not already Scooby-Doo fans. It has a totally artificial quality, starting with Prinze's blond wig.
  10. A woeful little comedy that runs out of steam shortly after its opening sequence.
  11. The film strains to be hip with its sterilized pop soundtrack and perky graphics. The humor that isn't lifted from the novel is equivalent to that of a subpar situation comedy.
  12. A coy, frantic attempt at screwball comedy, lightly seasoned and more than a little gummy.
  13. A deadly earnest drama tripped up by clumsy plotting and unintentional bursts of humor.
  14. The film is loaded with striking visuals, high energy and all-stops portrayals from its actors, but for all of Samuell's imaginative cinematic bravura, it is, finally, mainly exasperating. Phooey on Julien and Sophie's excruciating l'amour fou.
  15. The film is plagued by Anselmo's inability to focus on the heart of his story.
  16. The story is too silly, too woefully underwritten, to stake a claim on seriousness.
  17. Flashy production design can't save Soul Plane from crashing and burning in a debris field strewn with stereotypes and raunch.
  18. It was somebody's nitwit idea to rip out the story's guts and brains for a sour sellout of a finale -- which finds the filmmakers behaving exactly like Stepford men and turning an original into a dummy.
  19. Williams knows when material is working, and he knows the sound of an honestly aroused crowd. This ain't it!
  20. It's a simple collection of sight gags and pratfalls that mines the overly familiar turf of awkward adolescence without bringing anything truly original to the experience.
  21. The script is muddled and unsatisfying, as ponderous on its feet as its protagonists are in their heavy diving suits.
  22. The misguided, delirious result offers the perverse guilty pleasure of watching a roster of distinguished actors earnestly swimming against a tidal wave of silliness.
  23. Follows a leadenly predictable path that will be more than familiar to anyone who's seen a recent sports movie, or any Sandler movie.
  24. Unfortunately, "Cinderella" feels like a pro forma TV movie from the get-go and relies almost entirely on Duff's likability to hold the audience's attention.
  25. More disturbing, yet another robot, or maybe two, seems to have written a Hollywood script and hijacked a major studio production. Given the film's assembly-line screenplay and mechanistic storytelling, no other explanation seems viable. Certainly no one with a heartbeat or taste would blow so much talent, time and resources on such rubbishy writing.
  26. Listless, disjointed and disconnected, this meandering two-hour, 32-minute exercise in futility will fascinate no one who doesn't have a blood relation among the cast or crew.
  27. The film's repetitious, episodic structure seems to unnecessarily alleviate the building tension, making it a far less frightening film than it might have been.
  28. It only serves to remind one of better movies, at a time when one needs no reminders.
  29. Aside from a couple of rescue set pieces that bookend it, the film is strictly low-wattage in terms of action.
  30. It's an irrefutably bad movie, littered with paper-thin characters, crummy dialogue and a mawkish undercurrent that wells up any time it starts to resemble something smarter and snappier. Yet it is somehow redeemed by Murphy's agreeably quirky performance in a horribly underwritten role.

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