Los Angeles Times' Scores

For 10,040 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Diary of a Teenage Girl
Lowest review score: 0 Mixed Nuts
Score distribution:
10040 movie reviews
  1. Breathes fresh life into the tired, bloated sports-comedy formula -- while remaining utterly formulaic.
  2. Never quite works as a film. The failure to create appropriate cinematic metaphors reduces it to "happiness is a warm puppy" superficiality.
  3. Deeper socio-historical context and a more electric approach could have helped us better appreciate the far-flung impact of this visionary artist.
  4. Tremendous energy, outrageous humor, dazzling technical finesse -- and a numbing amount of violence, brutality, bloodshed and all-out savagery. It is downright depressing to think about all that vigorous cinematic artistry and expertise aimed so low.
  5. Despite the film's unvarnished emotionality and even-handed messaging, Courtney never seems to have found an appropriate focus, resulting in a work that's less urgent and involving than its intense subject matter might have dictated.
  6. An intimate, good-humored ethnic comedy like numerous others but cuts deeper than expected.
  7. It's no great surprise that after a tough beginning, Saved! soon starts to sound a lot like the inspirational TV movie (with Valerie Bertinelli).
  8. Intermittently fun and occasionally witty, with just the right touch of self-awareness.
  9. Director Peyton Reed gets the film's look and, in moments, its disingenuous innocence, but you have to wonder what he and the screenwriters, Eve Ahlert and Dennis Drake, thought they were parodying. The actors clearly haven't a clue.
  10. 27 Dresses dutifully privileges its formulaic plot over its stick-figure characters, slapping a happy ending on a setup that, say, "Happiness" director Todd Solondz could have gone to town on.
  11. Plays like "Transformers" for tots, a "Pinocchio" story that stays true to its source material's storied past without adding much in the way of interest, outside of some clankingly obvious political subtext that will alienate people of all stripes.
  12. Waugh has a good feel for the cars and action extremes, while director of photography Shane Hurlbut acquits himself nicely. But the screenplay written by George Gatins is full of potholes.
  13. Has the stuff of a cavalry classic...but it lacks the vision and personality to attain such a level of artistry.
  14. The Ardennes is an odd mixture of glum-chic style and emotional curiosity, a story of brotherly tensions that primarily comes off like a movie posing as a story of brotherly tensions.
  15. Filmmakers Brad and John Hennegan follow six horses and their trainers through the arduous 2006 race season, building up to the Derby, but they are never able to find the balance between insider wonkery and genuine human (or animal) drama.
  16. New Orleans locations and stirring tunes lend texture, intermittently breaking through the film's overriding flatness.
  17. Even with all the design-rich invention and admirably committed weirdness on display in “Swiss Army Man,” we’re still in the land of immature males, poor-me feelings and superpowers. While the movie focuses on one end of the body, you might be left sighing from the other.
  18. Admirably imaginative but frustratingly clunky, the sci-fi thriller Let’s Be Evil is a technophobic cautionary tale that ironically demonstrates how fancy new digital filmmaking tools make a low-budget project look spiffy.
  19. Yet, there is also little doubt that when it comes to extreme physical humor, Carrey is remarkably gifted, a throwback to the vintage antics of Jerry Lewis or even the slapstick gang of silent comedy.
  20. More than characters, dialogue and lighting, here Petersen is interested exclusively in suspense of the will-he-or-won't-he-be-crushed-by-that-falling-flaming-elevator variety.
  21. As a take on celebrity as religious mass derangement, Backstage is nominally interesting. As a study of two characters, it's not very convincing.
  22. The biggest problem with Why Him? though, isn’t him, it’s her. Stephanie is so underwritten that even though these men are competing ruthlessly over her, she drops out of the story completely. She’s the center of attention, but she’s a void. That’s not the fault of the winsome Deutch.
  23. Except for a memorably haunted performance by Jeremy Irons as the conflicted Humbert Humbert, what the new version lacks most of all is inspiration.
  24. The best moments showcase Duvall and Franco, formidable stars representing different cultural eras, testing the waters of a father-son relationship bruised by outmoded views of love and sin.
  25. Passable, moderately diverting dramatic entertainment.
  26. Dredd's cinematography is one of its strongest assets speaks to the film's larger problems - the parts and pieces just don't have the total impact they should, like a punch sailing helplessly through the air rather than forcefully smacking its target.
  27. An actors' piece, director Michael Patrick Kelly's first narrative feature registers low on the cinematic-oomph scale, the production's low budget sometimes all too evident. Its aim is true, though, and Kathleen Chalfant infuses the lead role with an elegant ferocity.
  28. If Genius is a failure — and by the generally unilluminating standards of most mainstream movies about the creative process, I’m not entirely sure that it is — it succeeds in being a noble, even charming one.
  29. The film insistently asserts its autobiographical roots at the expense of sharper plotting and characterizations, not to mention more energetic pacing.
  30. A troop-rallying campaign infomercial as imagined by Michael Bay: hero-worshipping, crescendo-edited at a dizzying pace, thunderously repetitive and its own worst enemy as a two-hour, talking-points briefing.

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