Los Angeles Times' Scores

For 8,337 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Far From Heaven
Lowest review score: 0 Christmas Ride
Score distribution:
8,337 movie reviews
  1. Under Australian director George Miller ("Mad Max"), The Witches of Eastwick begins so promisingly. It has such smashing separate moments, so succulent a cast and so interesting a premise that watching it crumble into stomach-turning crudeness and "Poltergeist"-scale special effects is deeply painful.
  2. The teenager's journey through a nightmarish reverie presents hallucinogenic imagery that simultaneously dulls the senses and hot-wires the imagination, but it never fully engages emotionally.
  3. The film is more lifestyle puff piece than journalism.
  4. While it's difficult to dislike what this film tries to do, the way it does it is more problematic.
  5. A performer of formidable self-absorption, Johnston has inspired a film with the same trait, and the results are about what you might expect.
  6. A film that never quite manages to justify its existence.
  7. Guilty of squandering resources. Amusing as it goes about setting up its premise, in Witherspoon, the gifted veteran of "Election" and "Pleasantville," it has an actress willing to throw herself completely into the part to excellent effect.
  8. A dark piece of whimsy that enchants and befuddles in equal measure.
  9. [Aselton's] disregard for her male characters causes Black Rock to spiral into dudette "Deliverance."
  10. The cartoonish movie might have made for a funny half-hour short or sitcom pilot but runs out of track well before its conclusion.
  11. Danny Elfman's intense score contributes crucial energy, John Thomas' camera work is first-rate, but the ambitious Freeway ends up merely trashy.
    • 43 Metascore
    • 50 Critic Score
    The outline of a great story, but it never fills in the gaps.
  12. In the end Anna Karenina lets you down - visually stunning, emotionally overwrought, beautifully acted, but not quite right.
  13. As amiable art-house fluff, it's a passable way to kill time.
  14. Despite its dollops of good-natured humor and sentiment, Blow Dry is likely to play better on the tube as a likable-enough diversion.
  15. This journey into "Martha Marcy May Marlene" territory is never as tense and gripping as it should be, the incidents and most of the performances too tamped-down to spark a much-needed sense of animating friction.
  16. As its plot thickens, Waist Deep gets more outlandish. The whole mess empties out into an overextended car chase through Los Angeles.
  17. The noir atmosphere doesn't quite smother the dialogue's cheesy smell.
  18. In effect, aspects of Gibson's creative makeup -- his career-long interest in martyrdom and the yearning for dramatic conflict that make him an excellent actor, coupled with his belief in the Gospels' literal truth -- have sideswiped this film. What is left is a film so narrowly focused as to be inaccessible for all but the devout.
  19. Pattinson could have the makings of a brilliant career, something more than the hot streak he's got going as the "it" guy of the moment. The same problems plague the film, which is beautifully shot but its emotional potential unrealized.
  20. The film's anthropological interest in Indonesia is the smartest thing in an otherwise familiar scramble of kidnapped babes, expensive jewelry and millions of bullets.
  21. CQ
    The result is stylish but awfully slim.
  22. You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
  23. Make no mistake, it is lovely to look at this celebrity bedazzled bit of L.A. crime history for a while. But the movie ultimately leaves you feeling as empty as the lives it means to portray.
  24. None of this means that the film is necessarily enjoyable to watch, however, which is often the problem when the rigors of inspired storytelling can't live up to an imaginatively designed filmic world.
  25. Diablo Cody's glib teen-hip dialogue mostly feels like self-conscious splatter over a sorely lackluster scare flick.
  26. Only partially convincing.
  27. The structure, sliding between memories evoked by objects in the house and the common difficulties of moving day, should play with more elegance than it does. Instead, it feels awkward and frequently - as does the film on the whole - too on the nose, too obvious.
    • 14 Metascore
    • 50 Critic Score
    Relentlessly inoffensive, innocuous and vacuous, From Justin to Kelly is nowhere near as bad as its pre-release publicity would suggest.
  28. All I could think about while watching Jennifer Lopez prance through Monster-in-Law was how cool and poised she was in "Out of Sight."

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