Los Angeles Times' Scores

For 10,360 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Motherland
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
10360 movie reviews
  1. Allegiance is an intermittently compelling but ultimately disappointing drama that loses track of its own point of view in favor of more generic storytelling.
  2. The new Poltergeist is a pleasant enough diversion, better as a low-simmer suspense story than a full-blown effects extravaganza.
  3. This is a conventional, well-acted, English working-class drama in the familiar realist style, but it does not attain anywhere near the level of artistry and imagination of a Ken Loach film.
  4. Haven is far from perfect, with some uncomfortable pacing, wayward accents and less-than-satisfying denouements. But it's a refreshing, character-driven antidote to the late-summer movie-house blahs, and Flowers looks like a talent worth watching.
  5. The easygoing charm of Funeral Kings and its impulse toward honesty over overstatement robs the film of true dramatic tension, and a number of story lines - involving drugs, rivalry, love interests - are left somewhat unresolved.
  6. This is a film bound and determined to do whatever it takes to be your Valentine. If it had trusted itself more, it might even have succeeded.
  7. Director and star Lina Esco keeps this compact film moving with enjoyable buoyancy until it bids adieu with a showy climax that needs a serious postscript.
  8. It was shrewdly written by Forrest Smith and directed crisply by Paul Abascal (Gibson's onetime hairdresser) for maximum visceral impact upon the susceptible.
  9. When it comes to serving up diabolical horror with bold, sophisticated glee, Park, best known for "Oldboy," is right up there with Dario Argento, Guillermo del Toro and Takashi Miike.
    • 38 Metascore
    • 60 Critic Score
    Facing the Giants, which despite its flaws is ultimately a sweet, sincere movie about Christian faith.
  10. This film feels completely haphazard, thrown together without much concern for organizing intelligence.
  11. Perhaps Switch's greatest strength is in giving us enough information to try to come up with better questions of our own.
  12. Cailley never truly builds a narrative head of steam, resulting in periods of logy pacing and diffused focus. Still, the strong leads, several amusing moments and a clutch of intriguing character bits sketch what might have been.
  13. The film meanders, and the climax descends into campy fantasy worthy of any ’80s B-movie, but Records is quietly winning.
  14. Though everyone tries her or his hardest to make it otherwise, this is by definition a place-holder film that exists not so much for itself but to smooth the transition from its hugely successful predecessors to a presumably glorious finale one year hence.
  15. With so many twists, the movie feels like it's trying too hard. Some moments are cleverly constructed; and others seem as if the filmmakers have left themselves no plausible escape.
  16. A forced march toward certain disaster, a scenario only passionate believers in predestination are likely to savor.
  17. It’s a taut, if somewhat hysterical, cycle of bait and switch, twists and turns, retribution, vengeance and mental torture payback for immature mind games with deadly results.
  18. A seeming lack of conclusive answers or solutions to a complex global problem makes Stuck feel more like a work in progress than a completely baked depiction.
  19. Penning's feature directing debut, which he co-wrote, has visual flair but lacks the tightly plotted storytelling this type of film requires. Relying on mood isn't nearly enough to make the outcome compelling.
  20. Yes, it's inventive, yes, it's out-there and audacious, but no, it's not always as funny as those good things would lead you to hope.
  21. Nearly every shot of Blood in the Water looks like it could be some band’s album cover. And when it comes to stylish crime pictures, appearance counts.
    • 33 Metascore
    • 60 Critic Score
    It's as aimless and pointless as a joke told while stoned. There are some pretty decent shock-laughs, often provided by Jones, who hasn't ever been this nasty.
  22. The cumulative effect is more that of a handsomely crafted museum piece than a moving, emotional journey.
  23. writer-director Andreas M. Dalsgaard takes such a low-key approach to presenting the film's vital, potentially involving topic that viewers may find themselves more inspired to take a snooze than a stroll.
  24. The feature spikes its lonesome mood with shots of dry humor, animated sequences and flashbacks — at times overplaying its hand, even as Emile Hirsch and Stephen Dorff wordlessly convey all that needs to be said.
  25. The Kite Runner is a house divided against itself. The Marc Forster-directed version of the Khaled Hosseini novel does one part of the story so well that its success underlines what's lacking in what remains.
  26. Minor whimsy of a film.
  27. Veteran director Roger Spottiswoode has tried to pep the old warhorse up, but the combined inertia of all those pictures over 35 years proves hard to budge.
  28. This melding of two cinematic sensibilities, though effective at moments, is finally not as exciting or involving as it we'd like it to be.

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