Los Angeles Times' Scores

For 9,751 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Melancholia
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
9751 movie reviews
  1. The Grace Card becomes increasingly involving and assured, yet when the inevitable moment of truth arrives for the coming-apart Mac, the film lapses into melodrama, contrivance and improbability.
  2. Less than terrific technically; focus and sound levels waver. Luckily, these flaws are not inconsistent with the film's raw, unvarnished tone and they do not diminish the effect of Leary's performance or that of Davis.
  3. It all remains remarkably free of memorable comic situations, dramatic tension or emotional insight. Adolescence may be bruising, crazy or normal, but it's rarely this staid.
    • 55 Metascore
    • 50 Critic Score
    Howard seems to be in an altogether different and substantially more idiosyncratic film. When the story calls for him to be Patton, he plays Kurtz.
    • 61 Metascore
    • 50 Critic Score
    The problem is that Antal and Metallica took two different movies — a fine live-band document and a supernatural end-of-days romp — and smashed them together to make both of them more boring.
  4. As a flashy, country-hopping ridealong with a style icon, it will appeal to fashionistas, but you won't learn much about the high-end world of clothing design beyond its ability to stretch someone's schedule to the breaking point, and land that someone a gig outfitting Jamie Foxx and Will Smith.
  5. The Purge: Anarchy is a good deal bloodier, but also — gulp — a good deal better than its predecessor. Make no mistake, a good "Purge" does not equal a good movie, but the post-apocalyptic thriller is slightly more interesting because it takes itself, and its menace, more seriously.
  6. If Welles was unhappy at the prospect of the human race splitting in two, he probably wouldn't be too crazy with his great-grandson's movie splitting up in pretty much the same way.
  7. I'd be happy to see it listed in an in-flight magazine, but "Annie Hall" it's not.
    • 30 Metascore
    • 50 Critic Score
    There's a benign, peace-loving air about it all that forces you to accept and embrace the film's two central characters.
  8. Terrific performances and a bleak, riveting look at life on the economic fringes eventually gives way to an overly familiar tale of abuse, denial and catharsis that feels like warmed over Sam Shepard minus the poetry.
  9. You can reliably forecast most of the beats in Blayne Weaver's breezy romantic comedy Weather Girl, but that doesn't diminish the small pleasures the movie delivers.
  10. When Udo Kier is the sanest person around, you know you're in strangeville.
  11. Although the meta-style conceit is fun, it doesn't fully kick in until the film's midpoint. Until then it's a sluggish, fairly dour ride.
  12. The film throws so much ersatz cleverness and overdone emotion at the audience that we end up more worn out than entertained.
  13. After an hour, or two-thirds of the film, they run out of gas. This is the kind of material that's easier to set up than it is to bring together in a satisfying fashion.
  14. The film feels like a sketch rather than a portrait, beautifully rendered but incomplete in the details.
  15. Filmmaker Jesse Quinones challenges certain racial and ethnic stereotypes while reinforcing others. When the script falls short, though, Royo and Haggard act up a storm.
  16. All surface shine with little substance.
  17. Losing Control has a vague cheerfulness but no real snap or insight, with Weiss apparently thinking that using scientific terminology to discuss relationships is witty rather than contrived. Perhaps investigating something new would have better served Weiss than simply looking to her own experiences, exploring rather than settling.
  18. The make-it-rain clichés are abundant and Jean-Claude La Marre's direction is pedestrian, but at least a few of the choreographed numbers here prove more magical than what Soderbergh mustered.
  19. Working from a screenplay by Douglas Soesbe that juggles contrivance and insight, Montiel labors to avoid sensationalizing Nolan's story, and in the process he overcompensates.
  20. For all its familiar conventions and hoary improbabilities, Double Jeopardy is a relatively efficient model of its kind.
  21. Though not as thrilling as the original, this third installment is an improvement over the paint-by-number 2013 direct-to-video “12 Rounds 2: Reloaded.”
  22. At its best, the film has the quality of a nightmare, one that keeps happening whether the characters are asleep or awake.
  23. With its improvisatory tone and loose, rambling structure, which often approaches a total breakdown of coherence, the story takes about half an hour to emerge.
  24. "Woman" is in essence an earnestly competent, slightly overcooked B-movie potboiler, with ideas of faith occasionally added to frame the story as parable.
  25. There are occasionally interesting peeks into the hard work of keeping a flame alive that burned briefly 30 years ago. But mostly this is a video tour book for fans, no more, no less.
  26. With its old-fashioned gloss, the incident-packed story proves only mildly engaging and finally has little to say.
    • 63 Metascore
    • 50 Critic Score
    Tries to make larger points, but it trips over itself just trying to make the small ones.

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