Los Angeles Times' Scores

For 10,499 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Distant Voices, Still Lives
Lowest review score: 0 BASEketball
Score distribution:
10499 movie reviews
  1. 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.
  2. 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.
  3. New Orleans locations and stirring tunes lend texture, intermittently breaking through the film's overriding flatness.
  4. 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.
  5. 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.
  6. Cry Freedom is not a great movie -- it's an earnest, clunky, awkward one without a fluid sense of story and with its most charismatic figure, the martyred black South African activist, Bantu Stephen Biko, gone before the film's 2 hours and 35 minutes are half over. [06 Nov 1987, p.1]
    • Los Angeles Times
  7. 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.
  8. 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.
  9. As a take on celebrity as religious mass derangement, Backstage is nominally interesting. As a study of two characters, it's not very convincing.
  10. 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.
  11. Except for a memorably haunted performance by Jeremy Irons as the conflicted Humbert Humbert, what the new version lacks most of all is inspiration.
  12. 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.
  13. The movie is twinkly and antiseptic so that when tragedy hits big in the final half hour, it seems coercive. It's like a pipsqueak Terms of Endearment.
  14. Passable, moderately diverting dramatic entertainment.
  15. 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.
  16. 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.
  17. 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.
  18. Having succeeded at a persuasive, endearing anthropomorphosis, the film makers have come up with only a so-so picture to go with it. All that was really needed to make Short Circuit a more satisfying experience was to up the script a couple of notches and apply a lighter touch to it. Unfortunately, director John Badham and his fledgling writers have taken a very broad, heavy-handed approach.
  19. The film insistently asserts its autobiographical roots at the expense of sharper plotting and characterizations, not to mention more energetic pacing.
  20. 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.
  21. High Art is, unfortunately, full of itself and its artistic pretensions.
  22. The terrors we see in A Cure for Wellness are never as scary as they are beautiful, but they are never so beautiful as they are arbitrary.
  23. Country Strong is Feste's second film, and she infuses it with an earnestness that swings between too too much and appealing, the same earnestness that swamped her filmmaker debut last year with "The Greatest."
  24. The strongest scenes are those between Elliot and Richard, which give Second Best a verisimilitude lacking in the rest of the film. The truest thing here is that these two guys have been friends forever and always will be.
  25. The result is a well-meaning checklist of a film that lacks sufficient charm or off-the-field vigor to fully score its intended goal.
  26. With a highly stylized form, and thick, syrupy ribbons of blood splashing everywhere, Sun Choke evokes a creepy, eerie vibe, but it’s difficult to muster more than a passing interest in the story, because we don’t know who this girl is, or why she does these things.
  27. Dense with plot and mythology, the film is refreshingly unpredictable — if only because guessing what comes next would require understanding what the hell is going on.
  28. A good mystery and earnest performances keep the movie lively, though the confined location and limited plot ultimately make the end product feel paltry.
  29. Personal and heartfelt, it's nevertheless bogged down by a lack of perspective on the material and a pointlessly frilly visual style.
  30. In Man on a Ledge, Leth does well in taking us to dizzying heights. If only he had found a way to ground that thrill in some real pathos as well.

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