Los Angeles Times' Scores

For 9,670 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Paterson
Lowest review score: 0 The Cell
Score distribution:
9670 movie reviews
    • 69 Metascore
    • 50 Critic Score
    I'd like to think the earnest sentiments and machine-tooled dramatic complications of Wells' script could find a receptive audience in late 2010. I'd like to think, too, that the mess we're in demands a gutsier script. Good cast, though.
  1. Though more brutish than elegant, The Whistleblower does have a certain charged, unvarnished power in its examination of how people can harm those they are enlisted to protect.
  2. Newsies becomes a string of set-pieces, some of which work, some of which don't, all barreling full-speed ahead toward its Teddy Roosevelt deus ex machina. [10 Apr 1992]
    • Los Angeles Times
  3. A series of miscalculations caused this project to lose its way, until what we're left with is a film that should involve us more than it does.
  4. Wants to be an honest look at the problems that can beset a modern marriage, and be funny at the same time, but it doesn't have the skills or the temperament to pull all that off.
  5. Carell is lovable as God's unwilling disciple. But the comedy is less than divine.
  6. The plot is lean, the dialogue is spare and there are some intriguing stabs at intellectual and emotional terrain. But the pacing is deadly, so slow there might be time for a catnap or two without missing anything important.
  7. Harsh Times goes down like the vinegar its protagonist chugs to try to beat a drug test. It's carefully crafted, exasperating and ugly, a festival of self-destructiveness, in all ways a reflection of its lead as brought to careening, erupting, implosive life by Christian Bale.
  8. Although Alien 3 is stylish--and ambitious--the movie doesn't have the soul or guts to sustain that ambition. It gets swallowed up in its own technology and genre expectations. And Fincher gets stalled in the drama, trapped in too many scenes of talking heads looming out of the gloom.
  9. Killing Bono whips up a frenzied mix of musical jealousy, wishful stardom and farcical lucklessness into a movie too slippery to hold onto.
  10. Though this latest entry has an OK sense of humor, moves swiftly enough and sports an effective opening sequence of racetrack destruction that puts its Fusion 3-D technology to good use, it mostly comes off as a particularly flimsy excuse to string together a bunch of gory killings.
  11. An uneven thrill-circus display that too often feels like TV writ large and loud rather than the kind of cinematic reimagining that defined the surf-flick genre.
  12. Given all the impossible choices the young jockey had to face, The Cup should have been a weepie if ever there was one - but the filmmakers stumble on their way to the finish line.
  13. The movie is not exactly a laugh riot. But its comedy is amiable enough — and surprisingly clean.
  14. LaGravenese... has understood that the worst of Bridges is not in its dialogue but in the silent musings that occupy its characters' minds. By keeping those thoughts unspoken, by allowing the camera to show instead of having words tell, much has been accomplished.
  15. If all you know about Peter Gatien going in to Limelight is that he is a nightclub owner with legal issues, that's about all you'll know coming out.
  16. Although Whiteley's unrestricted there-ness effortlessly yields an avuncular striver... it means little when the viewpoint is so hermetic.
  17. Has the hit-machine aura of something whipped together by L.A. studio execs over avocado sandwiches and banana smoothies.
  18. The disappointingly pedestrian computer-animated Over the Hedge will be more entertaining for little tykes than their older siblings and parents, and would not seem out of place on Saturday morning television.
  19. Magician may not be its own rich experience, but like Workman's many breathlessly compiled odes to the history of movies, it'll certainly spur a meaty living room film festival.
  20. This drama, about an ordinary guy trying to keep his infant daughter alive in Hurricane Katrina's aftermath, is sincere but struggles as much as its hero.
  21. The laughs come easily, the screams not so much. It's as if the filmmakers got so wrapped up in the satire they forgot to include the intense sensation of rising dread that creates all the thrills and chills that are part of the attraction.
  22. The whole effort is undermined by an abundance of mob-movie cliches.
    • 27 Metascore
    • 50 Critic Score
    It feels more like a cartoon, and when you're dealing with modern Stone Age families, that can only be a plus.
  23. For though it is a reasonable facsimile of a successful thriller, this film (named after a barrier that protects computers from hackers) never manages to be more than mildly effective.
  24. While City of Dead Men has an appealingly polished look and uses its unusual locations thoughtfully, it teeters on the edge of pretension.
  25. The new film is so leisurely paced and overly long that what means to be at once charming yet darkly satirical lapses into tedium and barely comes alive.
    • 38 Metascore
    • 50 Critic Score
    The movie, drawn from Wallace King's adaptation of Glenn Stewart's play, drips with style, but it's all flourish and no reveal.
  26. Figgis remains a compelling storyteller, holding you with the intensity of his vision and his mastery of nuance.
  27. Taking a cue from David Lynch, Hopkins fractures the narrative from the first frame, but unlike Lynch he doesn't go far enough in establishing a context from which to deviate. If the story fragments we're watching spring from the same mind, in other words, it's not obvious.

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