Los Angeles Times' Scores

For 7,763 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: 62
Highest review score: 100 Muriel's Wedding
Lowest review score: 0 Vegas Vacation
Score distribution:
7,763 movie reviews
  1. Stranded stops at being merely seriously dull and trite, rather than tipping into train-wreck silliness.
  2. Not to be glib, but sitting through the art-centric chamber piece The Time Being is truly like watching paint dry.
  3. Blood feels perfunctory, needing something besides fussy plotting to jolt it to life.
  4. The Canyons is a bad accident everyone saw coming, and now it is here.
  5. There was a time when the slack storytelling, stock characterizations and general by-the-numbers feeling of the film could be put into perspective by saying it seemed like a TV biopic. But even TV movies are done with more verve than this these days.
  6. It's unclear who this blandly titled drama is aimed at — devoid as it is of humor or any real hazard and lacking the provocative undertones of its source material.
  7. I'm not going to get into the acting, because there's not much of it, frankly. No one is embarrassingly bad; no one is exceptionally good.
  8. The Mortal Instruments: City of Bones is just a sloppy rag bag of ideas cobbled from other stories.
  9. While the narrative spins in place, Kyle Killen's script throws out one uninspired gambit after another to extend the film to feature length, eventually climaxing with dual endings, both contrived.
  10. Although writer-director Scott Walker seems committed to not overly exploiting his lurid subject matter, the movie is just too dreary, disjointed and generically creepy to be persuasive.
  11. A structural, chronological mess of information and emotion, so chaotically shot and edited to move from stat to image to sound bite that it suffers from its own concentration issues.
  12. The bloodletting is blandly demure and the identity of the malefactor telegraphed too early.
  13. Like many a biopic before it, Winnie Mandela shoehorns an exceptional life into the standard template of a highlights reel, lurching from one Important Moment to the next.
  14. The script is short on details and insight, and when asked to comment on this condition — or the script's sketch of a culture on the cusp of the Internet revolution — the film, like its dirtbag protagonist, just shrugs.
  15. For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  16. In its stylistically flailing stab at authenticity, CBGB ends up merely a mess of caricatures.
  17. Machete Kills winds up a slightly camp, tinny parody of bad action movies, playing out with the same sense of tedium as a genuine bad action movie.
  18. Muddled by a setup with a religious bent that's never fully explored and an instance of euthanasia that's only tenuously related to the central plot.
  19. Suffers from the same ills as too many movies that preach to the choir: a laborious length, formulaic plot and dialogue and, disappointing for a film that stars a rapper, a stock score. Content aside, Molina's testimony isn't good cinema either.
  20. The scenarios in Ass Backwards, which director Chris Nelson contributed to by filming in focus, feel arbitrary rather than organic, as if the creators' list of humor targets — lesbian bikers, trailer trash, drug-addicted reality TV stars, pageant world denizens — were picked out of a hat.
  21. If Michael Mann, Luc Besson and Quentin Tarantino all ate the same bad sushi together, the unfortunate end result might just resemble the pre-digested pap that is the French thriller Paris Countdown.
    • 27 Metascore
    • 30 Critic Score
    The film is more polarizing than persuasive.
  22. Alexander Sokurov's Faust is a grueling side show of a film, a morbid, mightily uninvolving piece.
  23. Live at the Foxes Den comes off like some long-unproduced Broadway musical finally dusted off when someone raised enough money to mount it as a film production instead.
  24. Chen's grand opus about the perils of the Internet already feels obsolete.
  25. The inherent cinematic potential of one of nature's cutest animals rescues the film from being a total waste of time.
  26. Perry can now knock these films out in his sleep, and with “Madea Christmas” he certainly seems to be dozing at the wheel.
  27. Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  28. Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  29. The juxtaposition of such country-music icons with the story's cringe-worthy treacle has one siding with Michael's bah-humbug attitude.

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