Los Angeles Times' Scores

For 7,829 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 The Opposite of Sex
Lowest review score: 0 Chaos
Score distribution:
7,829 movie reviews
  1. Part road movie and part coming-of-age story but mostly plays like some creepy-perv fantasia looking for mileage from the mature-beyond-her-years presence of young star Chloë Grace Moretz.
  2. Thin, neatly folded, paper-airplane of a movie threatens to nose dive into tweeville.
  3. Common sense and basic logic are left at the door; there's a brief creature effect that is laughably, outlandishly awful.
  4. The lack of suspense and surprise in this dispiritingly rote film becomes its own form of contamination.
  5. Weaver's last ditch attempt to upend rom-com convention and rewrite the movie as a skeevy lout's comeuppance hardly makes up for the clichéd slog that comes before.
  6. A spectacularly slapdash and wearingly half-hearted effort from the prolific writer-director-actor, lacking energy, structure or common sense.
  7. The only payoff to Lloyd's structure is that the young actress Condola Rashad, a recent Tony nominee, is allowed to appear in both the film's first scene and its final segment to bring the story full-circle, though her enigmatic, beguiling presence underlines just the sort of energy missing from the rest of the film.
  8. Comes off as formless and inane.
  9. For the sake of the children, The Oogieloves in the Big Balloon Adventure should be allowed to quietly float away.
  10. The dull, hectoring financial melodrama Supercapitalist has all the spark of a high school assembly skit about not letting friends drive drunk.
  11. To borrow a hamburger chain's refrain, not lovin' it.
  12. Lawrence's natural, disarming screen presence is ill-suited to something as mannered and labored as House at the End of the Street, and at moments it's as if she freezes up, unable to simply throw on a scared-face for no good reason.
  13. The trouble is that it's hard to care about poor Wayne when he seems so empty-headed and naïve - civic unrest in Peru on the eve of its first democratic elections in 1980 is the setting - and when the movie itself seems so unfocused.
  14. Budgetary constraints aside, director John Putch struggles to find balance or generate a single spark from the clunky mix of romance, political diatribe and thriller.
  15. There is a flamboyance to some of the imagery - Heather and her demonic doppelganger embrace on a flaming carousel - but no exuberance, no sense of wonder, fascination or enjoyment. Everything feels like a throwaway.
  16. Feels like a failure on all fronts - unpleasant to look at, needlessly in 3D, drearily unfunny and worst of all an incomplete portrait of the person to whom it is ostensibly paying tribute.
  17. With its stock characters and low-expectation high jinks, the German import What a Man could have been fabricated on the Hollywood rom-com assembly line.
  18. For all the attempted intrigue and mayhem, the film is dullsville, mired by a poky script, unremarkable action and, the hard-working Garcia aside, uninspired performances.
  19. The underwhelming, would-be political satire Knife Fight plays more like a failed network TV pilot than the savvy feature it clearly set out to be. Think: Aaron Sorkin-lite, uh, really, really lite.
  20. How many directors does it take to screw in a star-studded piece of aggressive stupidity and call it a movie? An even dozen, and there is no punch line.
  21. A Good Day to Die Hard plays like an extended victory lap for star Bruce Willis and the entire "Die Hard" franchise. Not surprising, but not overwhelmingly entertaining either.
  22. Inescapable is like "Taken" without the tension.
  23. With some momentary exceptions, Jack the Giant Slayer simply isn't any fun.
  24. A good idea for a ghost story is dead on arrival in The Condemned, a would-be thriller whose intended horror-tinged chills register as ho-hum hokum.
  25. It's hard to believe that the group who came up with the hard, clean edges of "Top Gun," sleek and unfeeling though it may have been, could make a picture as crude, as muddled, as destructo-Derbyish as this one. If Beverly Hills Cop II is its opening salvo, this is going to be a long, smoggy summer. [20 May 1987]
    • Los Angeles Times
  26. In the end, the difference between "Funny Games" and Hollywood schlock horror may only be a matter of breeding. Funny Games is "Saw IV" with a PhD.
  27. Laurence Coriat's shapeless script...pads its overlong running time with standard teen trauma — band squabbles, girl betrayals, skinhead brothers — that saps the audience's energy before the grand finale.
  28. The story goes slack onscreen, so much so that the movie's two-plus hours will seem an eternity.
  29. Writer-director P.J. Hogan may have based Mental on an actual incident from his childhood, but the crazy quilt of a movie that resulted feels anything but real.
  30. For all the ways Dickerson vigorously dramatizes the stages of solitary confinement — nervous humor, fear, rages, survival ingenuity (including a nifty breathing apparatus) — it's never enough to explain why this particular individual's story is worth telling.

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