Los Angeles Times' Scores

For 8,040 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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 On the Waterfront (re-release)
Lowest review score: 0 21 and Over
Score distribution:
8,040 movie reviews
  1. The result is crass but reasonably harmless, although to hear one of the guys hold forth on how much he's learned about family and loyalty in just one week living with the DOGs is enough to make a person gag.
  2. With "Looper" and the fantastic recent release "Predestination" using the same plot device to explore existentialism, the potboiler Project Almanac feels like a leap backward.
  3. Co-directors Dana Nachman and Don Hardy haven't attributed all of their facts and figures, hence the proverbial grain of salt.
  4. Whatever emotional depths filmmaker Jessica Goldberg hopes to suggest, there's nothing stirring beneath the movie's static surface.
    • 42 Metascore
    • 40 Critic Score
    What use is journeyman acting, quality set design and a kicky, eclectic score in a movie that's so ineptly scripted?
  5. It's a derivative trove of swashbuckling action, romance, comedy, special effects and revisionist history — the kind of film that would be pitched to studio execs as "Pirates of the Caribbean" meets "Free Willy."
  6. Despite the good intentions, structurally it's all over the place with an excess of montages, archival footage, interviews and information practically drowning out any chance to appreciate the richness of the German composer's beloved achievement.
  7. Etched in acid, stoked by wrath, it is one of those big-ideas novels that fits perfectly in human hands, where it can be savored over time or wrestled with page by page. But big ideas don't always size down for movie screens.
  8. There's a key organ missing from the movie itself: a brain. In its place is a memory bank of other, better movies.
  9. No amount of goodwill can rescue Face from its painfully literal script and acting that's all about projecting recognizable attitude rather than drawing in viewers.
  10. With their unforced magnetism, Brosnan and Thompson are persuasive as exes who still have chemistry... They have the verve and comic chops to ignite sparks, à la Cary Grant and Rosalind Russell, but this Punch never truly connects.
  11. Everything unfolds at a glacial place, with so many emotional beats overplayed that the experience is more wearing than moving.
    • 53 Metascore
    • 40 Critic Score
    It's not vivid or harrowing enough to command attention. Worse, at a mere 76 minutes, the movie skips past what seems like lots of crucial exposition in favor of vague flashbacks and confusing inserts. The awkward documentary-style interviews don't help.
  12. The movie is as histrionic as it is ham-fisted, a bad combination that leads to scenes such as the one in which officers threaten to torture a baby to get their point across.
  13. This first feature by Jabbar Raisani is played out with considerable conviction on the part of its director and the tough-guy cast (led by Rick Ravanello), but the alien element is less convincing because of corny costumes and static-y special effects.
  14. Despite some agreeably idiotic moments, Without a Paddle is also mostly without a rudder. Its few memorable highlights end up floating haplessly in a genial but uninspired and watery plot.
  15. An unconvincing, poorly conceived hybrid of end-of-the-world thriller and relationship drama.
  16. With its telegraphed twists and clunky pacing, the film would be unbearable were it not for the fine trio of Craig, Weisz and Naomi Watts, all more or less slumming.
  17. Although the film has little of the smarts and the sizzle of the best of Goldman, it does have a splash of the writer's sense of irony.
  18. If "The Bible" was CliffsNotes for the Scriptures, Son of God is the cheat sheet. The two-hour film condenses about four hours of what already was hasty television, and it all winds up a little dramatically static.
  19. Kramer, 10 years removed from his lone critical success, "The Cooler," and writer Adam Minarovich aren't exactly aping Tarantino, if only because they don't have the talent or inclination to aim that high.
  20. It is a slack and preachy business that never comes to grips with its underlying theme of homophobia.
  21. As Ruscio piles it on, he gets himself further and further away from any sense of genuine emotional truth.
    • 46 Metascore
    • 40 Critic Score
    Only intermittently funny at best, but mostly full of dead air, the film is a let-down on both fronts.
  22. Dazzling visually but is flattened by corny dialogue better suited to the 1936 "Flash Gordon" serial, a needlessly hard to follow plot and heavy-handed exposition clotted with pseudo-scientific mumbo jumbo.
  23. The droll cast--especially Ferrer, who's exquisite as a tough-talking dunce--deserved something more fully realized than this.
  24. 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.
  25. By performing narrative gymnastics, the film sacrifices any possibility for viewers to identify with the characters. Although the film does answer the myriad questions it raises along the way, it would have benefited from more straightforward storytelling.
  26. When Drift sticks to the likable, gently humorous contours of occasionally fractious brotherly love, broken up by thrillingly shot surfing footage, it has plenty of charm, period flavor and breezy visual breadth... Where the movie routinely disappoints, though, is in pursuit of a perfect storm of conflict story lines.
    • 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."

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