Los Angeles Times' Scores

For 8,236 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 A Christmas Tale
Lowest review score: 0 Waking Up in Reno
Score distribution:
8,236 movie reviews
  1. Even after appropriately lowering expectations, it's kind to call this one a cut below.
  2. The naughty-yet-nurturing tone is certainly unusual, but in working so hard to be the adult who "gets" kids yet lectures them at the same time, he's ended up with a colorful but superficial mess.
  3. A reminder of the difference between exhilaration and exhaustion, between tension and hysteria, between eroticism and exhibitionism. The line may be fine, but it is real enough to separate the great thrillers from the also-rans. And Basic Instinct is not a great thriller.
  4. Though writer-director Bryan Anthony Ramirez keeps things moving apace, he trots out so many familiar tropes that it's often like watching a highlights reel from a lifetime's worth of urban crime dramas.
  5. It is easy to see the film as two movies crammed together, neither of them being very good.
    • 67 Metascore
    • 40 Critic Score
    Stillman too often substitutes pith for insight, until even that is drowned out by the sound of him chortling into his sleeve.
  6. It's a handsome nothing, at least until you get sick of the screaming.
  7. Whereas the original film is gleefully crass and energetically paced, the movie musical, weighing in at a robust two-plus hours, is bloated and self-satisfied. Whatever spectacle the stage musical possessed to make it such a box-office behemoth fails to transfer to the screen.
  8. The film blurs lines between documentary, reality television and "Candid Camera," with Vargas instigating the proceedings.
    • 34 Metascore
    • 40 Critic Score
    Cinematographer Thom Best never captures the glory of the Canadian Rockies, and the uncredited editing is jarring and unconvincing in key action sequences.
    • Los Angeles Times
  9. Evokes the fear, anger and conflict that swept over the country at the time, but it doesn't offer sufficient fresh insights to justify doing so.
  10. Undone by a deadly twofer: lack of trust in characterization coupled with single-minded faith in spelled-out messages.
  11. Overall Take Me Home Tonight represents a lateral move at best for its 24-hour party people, a step back at worst, and not worth your time either way.
  12. Though Black Snake Moan is unadulterated deep-fried silliness from "Hustle & Flow" filmmaker Craig Brewer, Jackson makes it indisputably more palatable. It's still not a very good movie, but it's intermittently entertaining (and sometimes unintentionally funny).
  13. This movie version adds a whole lot of other stuff, most of it not very good and not in keeping with the spirit of the Seuss original.
  14. Deeply felt but flat and unimaginative.
    • 34 Metascore
    • 40 Critic Score
    The Messengers is at once ruthlessly efficient and shamelessly distended.
  15. Instead of invitations, they should be sending out apologies for Our Family Wedding, a cake-and-kisses comedy that has disaster written all over it and not for the right reasons.
  16. No fun at all.
  17. Busy, but not exactly invigorating.
  18. The filmmaker captures a certain exaggerated verisimilitude, but the comedy is surprisingly flat. The cast sells the occasional one-liner, but a Reynolds smirk can take you only so far.
  19. Even if Apollo 18 is not exactly as it presents itself to be, it is less of a stunt than a low-key and unassuming film of rising tension rather than big scares or wild shocks.
    • 54 Metascore
    • 40 Critic Score
    A little of this junk-drawer fusillade goes a long way.
    • 45 Metascore
    • 40 Critic Score
    Treating their problems like they're the most important crises in the world is what people in their 20s do, but that doesn't mean we have to go along for the ride.
  20. More disturbing, yet another robot, or maybe two, seems to have written a Hollywood script and hijacked a major studio production. Given the film's assembly-line screenplay and mechanistic storytelling, no other explanation seems viable. Certainly no one with a heartbeat or taste would blow so much talent, time and resources on such rubbishy writing.
  21. Egoyan, who has never shied away from the lurid aspects of lost innocence, takes a measured approach that successfully avoids sensationalism. But the film's restraint verges on blankness.
  22. There's likely an audience for the cloying and dizzying hip-hop dance flick Battlefield America, but even the most forgiving viewers may feel like they've been underestimated - and underserved.
  23. By our quote-unquote standards of contemporary comedy, it plays as uneven at best and often just flattens out for long jokeless stretches.
  24. A 38-year-old man's coming-of-age story, the earnest Ranchero reaches for thematic resonance and ends up only cliché-deep.
  25. The presence of the ever-reliable Steve Buscemi adds a welcome boost to Saint John of Las Vegas, an otherwise unremarkable debut feature from writer-director Hue Rhodes.

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