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 WALL-E
Lowest review score: 0 Stolen Summer
Score distribution:
7,840 movie reviews
  1. Weirdly clueless.
  2. A sad farewell to the promising Project Greenlight concept, this Feast leaves viewers with nothing satisfying to tuck into.
  3. Perhaps in an effort to root the film in the genre, the dialogue reaches for a particular hard-boiled register but grasps only clichés. El Cortez, like so many before it, searches for that nugget in the genre mine but just doesn't find it.
  4. This is not the cool, eerie déjà vu, but the "Hey, isn't that exactly what happened in the first movie?" déjà vu.
  5. The film is forever trying to balance between being for younger teenagers and keeping their parents occupied as well, and never quite gets it right.
    • 38 Metascore
    • 40 Critic Score
    There's not much joy in One Night With the King, a lavish but listless retelling of the biblical story of Esther.
  6. Murphy, who created the creepy, funny, lunatic "Nip/Tuck," is a master of mordant and macabre camp. But here he loses his teeth, seeming to lack any ironic distance from material that practically begs for it.
  7. Working with cinematographer Karl Walter Lindenlaub, director Caton-Jones has givenRob Roy a beautiful wide-screen look, filled with gorgeous vistas. But this film is like a color Xerox copy of the real thing: hard to tell from an original until you look closely at the details.
    • 35 Metascore
    • 40 Critic Score
    Conversations has all the telltale signs of a religious film that keep your basic moviegoer away: stilted dialogue, overwrought music, the subtlety of a daytime soap.
  8. There's no social commentary discernible here; merely a rap-video style glorification of the gangsta life, complete with mad money, barely clad babes and that annoying affectation of holding pistols sideways. As to its treatment of women, well, it's not exactly a feminist film.
  9. While it would like to be nimble, light-footed satire, too often Death and Texas stumbles on its own earnestness, wearing cement shoes when it should be tap-dancing.
  10. For all the time we spend watching Justin and Nicole negotiate their needs, we have no idea who these people are.
  11. It's an ambitious film drenched in sincerity and oozing with nostalgia that, despite the energy provided by its title icon via archival footage, falls flat dramatically in nearly every other way.
    • 28 Metascore
    • 40 Critic Score
    Like a fatally snarled string of Christmas lights, Deck the Halls promises holiday cheer but delivers only frustration.
  12. Not only screams out to be a midnight movie, but one in need of, shall we say, an herbal supplement, and we aren't talking ginkgo biloba.
  13. Eating Out 2 is sweet-natured, but like the first edition, lame and way too talky.
    • 38 Metascore
    • 40 Critic Score
    Eragon is likely to center on its place among the likes of "Dragonheart," "Reign of Fire" and the rest of the mediocre dragon flicks.
  14. The bulk of the movie is a series of sight gags and set pieces that wreak much havoc but little else.
  15. What's missing is less a sense of the protagonist's inner nose (which is very well-trammeled) as a sense of his inner life, motivation or desire.
  16. Scotsman not only lacks vision, a true sense of how to mesh Obree's sporting triumphs and personal setbacks, but it also lacks passion. What it needs, as strange and tacky as it may sound, is a bit more madness.
  17. In a film with several over-the-top characters bordering on camp, Timberlake's Frankie is the only one who approaches three dimensions, adept at convincingly dishing out some of the movie's disturbing violence as well as registering subtle shifts in Frankie's allegiance.
  18. Strangely self-serious, and without covering the prerequisites of top-shelf nastiness that contemporary horror requires, this giant crocodile movie turns out to be neither fish nor fowl.
    • 17 Metascore
    • 40 Critic Score
    The real problem with Epic Movie is that while it does a decent job imitating films, it never bothers to make fun of or have fun with them, which is what Friedberg and Seltzer did so well with "Scary Movie."
  19. It's a grindhouse-inspired concoction that may not contain a shred of originality, but it is executed with unbridled bombast and glee.
  20. The film has a weird, surrealistic feel abetted by a lack of conventional structure, keeping the viewer off-balance. On the down side, that means the movie occasionally rambles. The staging tends toward the static, the cast is uneven and the small film is technically limited.
    • 34 Metascore
    • 40 Critic Score
    The Messengers is at once ruthlessly efficient and shamelessly distended.
  21. The romance makes an awkward, contrived fit with the nominally serious political stuff, and even those momentous events come off as generic and unconvincing.
    • 36 Metascore
    • 40 Critic Score
    Fired! is missing the one thing it could have used most: a career objective.
  22. Walker-Pearlman's strengths lie in these characterizations and his ability to draw subtle performances from his actors. However, the powerfully understated moments are undercut by the film's unwieldy structure. Any emotional momentum that builds is lost with the interminable flashbacks.
    • 31 Metascore
    • 40 Critic Score
    Kramer shows zero feeling for the nuances of a midlife sexual awakening.

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