Los Angeles Times' Scores

For 7,892 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: 61
Highest review score: 100 The Cruise
Lowest review score: 0 Chaos
Score distribution:
7,892 movie reviews
  1. Redline isn't exactly a car wreck, mainly because it's far less exciting, and you can, in fact, look away. Perhaps at your shoes.
  2. Dela Torre tinkers with some of the undead's best-known traits, yet his reinvented wheel still feels like a retread.
  3. The film gets the scummy patina right, all phony-Leone dusty trails, but while everybody on screen looks to be enjoying themselves, it is no fun to watch.
  4. Beach's storytelling tactics, much like the film as a whole, would simply be annoying if they weren't also borderline insulting.
  5. The juxtaposition of such country-music icons with the story's cringe-worthy treacle has one siding with Michael's bah-humbug attitude.
  6. Unlike Tracy and Hepburn, the loving and loathing here are absent music and wit and tend to imply that what Moore's character really needs is a good frolic.
  7. Andrew Douglas, who directed the 2005 "The Amityville Horror" remake, mishandles the standard noir as straightforward drama and gives it an unfortunate after-school-special vibe.
  8. The performances by all three children are scarily convincing. Still, it's a taxing bit of exploitation, which, although you're glad to know it's a work of fiction, doesn't exactly make a case for itself as art.
  9. An unconscionably dreary and amateurish-looking thing, and the rote plot and annoyingly predictable script -- a compendium of bird puns, mostly -- don't work nearly hard enough to make up for the hammy awfulness of the images.
  10. The dull, hectoring financial melodrama Supercapitalist has all the spark of a high school assembly skit about not letting friends drive drunk.
  11. Despite its superficial lip-service to self-actualization/realization, there has to be more to life than what Beverly Hills Chihuahua is putting out there, which is fit for neither man nor beast.
  12. A rapidly wearying comedy that mistakes crudeness with humor.
  13. Condemned is, if nothing else, an object lesson in how to punish women for fun and profit. But it's all for a point, the filmmakers would have us believe. One suspects that's a point of sale.
  14. The movie's early promise fades, however, as an Apatowian crassness descends upon the comic situations, churlishness gets mistaken for rawness, and sweetness starts to feel manipulative instead of natural.
  15. Kabir Khan's New York -- part Bollywood potboiler, part overwrought examination of the war on terror -- is a slice of the Big Apple that you should skip.
    • 23 Metascore
    • 30 Critic Score
    Detailing the sexual and romantic misadventures of the employees and patrons at a London cafe, Caffeine is about as appetizing as a pot of dishwater coffee.
  16. A few steps further and Reitman might have turned Men, Women & Children into parody — at least that might have made for some laughs.
  17. It's a big, cheesy, familiar bore. With its garland of set pieces featuring Matthew McConaughey in mortal danger strung together by beach-groovy musical hooks, Fool's Gold feels at times like a third-rate Bond movie set to a Jimmy Buffett album.
  18. Far too much of this plodding picture is spent on odd couple Chip and Alex's road trip transporting Mine That Bird to Kentucky. Forced atmospherics, clichéd action bits and some tone-deaf slapstick weigh things down as well.
  19. Mostly, the movie swings wildly between mania when Hart is on-screen and relative serenity when he's not. It gives the film a multiple-personality feel that does not work in its favor.
  20. A frantic, badly constructed, slightly offensive muddle that doesn't so much end as run out of things on a checklist.
    • 44 Metascore
    • 30 Critic Score
    Yes, stepping is an age-old tradition at historically African American schools, but this smells of desperation; one more misstep for a film with two left feet.
  21. The movie suffers from a malady common to tiny indies of the let's-put-on-a-show variety -- it strains for irrepressibly nutty, but lands squarely in annoying.
  22. a freefall into urban hell that doesn't give us The impetus to jump or the awful gratification of the ride.
  23. Although the script by star Anton Pardoe is ambitious and creative, its dizzying array of characters, along with a dense story that unfolds more like a checklist of showdowns than an organic narrative, make for a tedious sit.
  24. It's more like "That Girl" on speed than anything else.
    • 35 Metascore
    • 30 Critic Score
    Bad as Harris' Hannibal Rising screenplay (his first) is, at least it's an improvement on his dreadful book, streamlining its convoluted action and discarding large chunks of unspeakable dialogue.
  25. So uninvolving it scarcely matters what it looks like.
  26. The film and its makers simply try too hard. Director and co-writer Judy Hecht Dumontet can't stop "helping" with overactive editing and scoring, such as tinkling bells every time the sacred tortilla is shown early on.
  27. Unless you're a connoisseur of movies that are so bad they're good, Hide and Seek is one game you're not going to want to play.

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