Los Angeles Times' Scores

For 7,617 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Shakespeare in Love
Lowest review score: 0 BASEketball
Score distribution:
7,617 movie reviews
  1. Ready for a singing and dancing "Reservoir Dogs"?
  2. Just the ticket for girls in their early teens.
  3. Implausible at every turn, it offers a dab of quirkiness and edge from writer-director Finn Taylor, but otherwise has nothing for audiences to embrace.
    • 36 Metascore
    • 30 Critic Score
    Typical of this movie's cluelessness is the way it cavalierly traffics in stereotypes.
  4. Every generation is entitled to its dopey, sticky junk and, deep into the winter blahs, they don't get stickier or dopier than Snow Dogs.
  5. You can't help but feel that Disney has delivered a turkey for Thanksgiving.
  6. The emotional aspects of the story are treated with such a heavy hand, the supernatural aspects are so vague and uninvolving, and the group dynamic is so unconvincing that one can't quite imagine why anybody bothered.
  7. All strained artifice, inhabited by individuals who either lack dimension or are merely stereotypes. The result is a movie not nearly as amusing as its makers may think.
  8. Low comedy doesn't get any lower than Love Stinks.
  9. Quickly becomes silly and tedious.
  10. While adapting accomplished fiction such as this is a lure Hollywood can never resist, some characters breathe better on the page, and that is the case here.
  11. Has plenty of warmth, affection and conventional wisdom, but too much of the time it plays out in routine fashion with moments of contrivance.
  12. By the time the heavy-handed Solomon & Gaenor is over, it has become such a punishing exercise in the self-evident that one is left numb and eager for escape.
  13. Affleck and Paltrow, who've been excellent elsewhere, display less chemistry than they've shown in magazine photo shoots. Even Woody and Bo Peep had more going on between them in "Toy Story" than these two manage here.
  14. Getting progressively less involving as it goes along, the strongest feeling Series 7 creates is the passionate desire to change the channel and move on.
  15. Li's far too unthreatening a presence to cause much of a stir amid the din of hard rock music and the pall left by fight choreography that has had every last bit of life digitally drained away.
  16. Misfires badly as both an entertainment and a message movie.
  17. There are any number of aspects to The Invisible Circus that simply don't ring true.
  18. One Night at McCool's is one night too much.
  19. Goes into a tailspin after its impressive setup. Its dramatic tactics become so tangled and diffuse that, by the end, you get the feeling that everything gets tied up too hastily.
  20. Might work on the stage but is merely tedious on the screen.
    • 34 Metascore
    • 30 Critic Score
    Isn't for teens, it's for the kids who aspire to be teens.
  21. Psycho Beach Party is, from the start, in dire need of the electroshock therapy that Florence ultimately undergoes.
  22. Nothing quite works about The Trumpet of the Swan, one of those animated films that make you realize how hard it is to strike the right tone for a family film.
  23. Not the kind of unwatchable mess you might assume a film withheld from reviewers' scrutiny would be. It is, however, something equally unfortunate: a mess you'd rather not be watching.
  24. Not even the strong, reflective, world-weary presence of Reno or Cassel's energy can make a dent in a movie in which suspense and tension dissipate quickly, with action sequences not spectacular enough to compensate. All that's left is gratuitous gore.
  25. The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.
    • 28 Metascore
    • 30 Critic Score
    Like a hall of mirrors, casting back at us distorted images from other movies. It even calls to mind "The Sixth Sense." It isn't engaging in the least.
  26. Can never rise above the melodrama of a past era, despite a splendid, impassioned portrayal by Willem Dafoe and an affecting one by Luo Yan.
  27. Lacks even a vestige of subtlety and is rarely so much as amusing. Viewers with fond memories of the brothers' wildly funny "There's Something About Mary" will be astonished at how few laughs the current venture has.
  28. It's too labored and ponderous to qualify as a so-bad-it's-good amusement. Original Sin is merely an old-fashioned bore.
  29. Without complexity to its characters, with little balance and without a hint of the personal, family or community issues involved, Colors becomes a movie that never has to ask "Why?"--a vivid, noisy shell of a film filled with eager young actors rattling along on the surface of a lethally important subject. [15 Apr 1988]
    • Los Angeles Times
  30. Nothing works, except perhaps the sight of Julia Roberts' lean, well-tempered midsection and her roughly eight yards of legs that, in this frail comedy, are worked until they're almost a story point of their own. [23 Mar 1990, Calendar, p.F-14]
    • Los Angeles Times
  31. A bad movie for connoisseurs of the genre.
  32. Begins as a captivating romantic comedy and then, at the very moment it's most involving, takes a wholly gratuitous and disastrous swerve and just keeps on going from bad to worse.
  33. A trite psychological thriller -- all buildup and no payoff, a mystery that essentially offers only two alternative solutions, which diminishes the element of surprise and strings the viewer along way past caring which possibility proves to be true.
  34. An undernourished romantic comedy-drama that's especially short on that most essential ingredient: credibility.
  35. Buried under the miscalculations, the shamelessness, the off-putting and inappropriate broadness are sporadically visible souvenirs of a good project gone bad, hints of the unusual, bittersweet story that got away.
  36. Certainly, Malkovich's portrayal of mob lieutenant Teddy Deserve (!) and his lacquered swagger represent the only thing here that you haven't seen a hundred times before.
    • 21 Metascore
    • 30 Critic Score
    The problem is that it doesn't find a lot of laughs in much of anything, referential or otherwise. [7 Jan 1994]
    • Los Angeles Times
  37. A dreary title for an even drearier picture.
  38. Looks sensational, moves like lightning. But its script (by Joel Soisson) makes no pretense about being logical or even comprehensible.
  39. Dust is a bust, a big bad movie of the scope, ambition and bravura that could be made only by a talented filmmaker run amok.
  40. The look of the film is great, the soundtrack glorious, but more often than not the dialogue is atrocious, featuring a lot of long-winded gobbledygook.
  41. As the Farrellys have proved, tastelessness can be made palatable, but they've misfired with Me, Myself & Irene.
  42. George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  43. Even Phoenix, an actor who can make an incestuous-minded Roman emperor seem sensitive, can't smooth over political nihilism this unsavory.
  44. Cast adrift with vague, improbable characters and a plot that's at once under-and overcooked, the actors struggle to find a steady tone, lurching from somber to silly as the director tries to figure out what he's doing.
  45. Where the first "Jeepers Creepers" came across like a dark, wacky dream, the inevitable Jeepers Creepers 2 seems more like a franchise under construction.
  46. The best thing that can be said about this lethargic coming-of-age tale, noticeably undernourished at 78 minutes, is that it's better than the even more pathetic "Stolen Summer."
  47. Despite the occasional topical reference to President Bush and Sen. Clinton, this movie is, like, so eight years ago, it isn't funny.
  48. Far from great, and this off-putting French romantic comedy is sure to test severely the indulgence of fans of "Amélie."
  49. It's too bad this Rollerball veered off-track so swiftly, derailed by bad writing and possibly also by some of that extensive post-production reworking.
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  50. Too often we feel that left-out-in-the-cold draft that blows over the shoulder whenever actors appear to be having more fun than the audience.
  51. The astonishing thing about Raising Arizona is how it can move so fast, be so loud, and ramain so relentlessly boring at the same time. [20 Mar 1987]
    • Los Angeles Times
  52. Melts swiftly...don't expect a shred of credibility.
  53. Given the polyglot nature of the cast, with actors from at least five countries taking their best shots at the English language, it's unclear why Cage felt he needed an accent or, stranger still, why it took him a reported seven months to come up with this one.
  54. Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
  55. Only the innate sweetness of both its lead character and its base premise keeps you from wanting to slap Deuce Bigalow: Male Gigolo upside its mangy, empty head.
  56. It's not often that you see talented, well-meaning people joined together like cultists in the snare of a group delusion, but that's what makes this film fascinating, the proverbial accident you can't take your eyes off.
  57. Though there's a thin noir line between lust and hate, Lansdown delivers nothing to stir the passions of filmgoers one way or the other.
  58. Max
    Just because people are objecting to Max for all the wrong reasons doesn't make it a good film, and it's not. It's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script, unimpressive acting and indifferent direction.
  59. Gadget instead ends up as another mindless, noisy thrill ride that gorges its audience on bright effects and leaves it queasy from overconsumption.
  60. Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
  61. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  62. Has been described as a "midnight-style musical." And perhaps it should be seen that way, with a crowd of kindred knuckleheads and some moshing in the aisles.
  63. More a 99-minute public service announcement about the plight of illegal immigrants than a fully formed drama, the film finds itself in a no-win situation not unlike that of its protagonist.
  64. The three leads go through the motions with goofy geniality, and director Chris Koch has enlisted some consummate character actors -- to help hold up the sagging jokes and story line.
  65. Those 24-and-unders who are looking for their own "Caddyshack" to adopt as a generational signpost may have to keep looking.
  66. More travesty than tragedy.
  67. What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
  68. Whatever his intentions, Clark, in his third outing as a director, has come up with a film that is seriously flawed.
  69. Falls wildly short of its inspirations.
  70. A painfully contrived and artificial exercise in futility.
  71. A dismal pastiche of threadbare plot devices and not-so-comic interludes.
  72. Opens and closes on a jaunty note: It's the tedious, relentlessly talky 80 minutes in between that's the problem.
  73. The Joker has been demoted into a broad-scale sociopath, without a tempter's power or a mythic villain's complexity. And that's the movie's real undoing. [23 June 1989, Calendar, p.6-1]
    • Los Angeles Times
  74. It has a tendency to run ragged and spends an unhealthy amount of time idling pointlessly at intersections.
  75. a freefall into urban hell that doesn't give us The impetus to jump or the awful gratification of the ride.
  76. So uninvolving it scarcely matters what it looks like.
  77. Kept in check by his character's neuroses, Pearce holds our attention throughout, but it isn't until near the end that he manages to break free of his character's and his director's inhibitions.
  78. Irritating, childish and more frantic than funny, Cats & Dogs does manage some few pleasant moments, but they are not worth waiting for.
  79. Maybe it's the sight of Leguizamo running around dressed only in boots and a well-placed sock that does her in, or maybe it's just that she's seen this movie too many times before. She isn't the only one.
  80. It's not the worst film in the series -- "Halloween III" will never be unseated -- but there's not nearly enough scares, or humor, to make Halloween: Resurrection worthwhile.
  81. With so little trust and even less dialogue to back him up, it's no wonder Li rarely takes his left hand out of his pants pocket. His fists aren't furious; they're on strike.
  82. So mild, so benign, its humiliation-to-vindication are so predictable and its old-folks jokes so feeble.
  83. The best the makers of Down to You can hope for is that girls in their early teens--clearly the film's target audience--will be so carried away by its charismatic stars that they'll overlook the film's various flaws.
    • Los Angeles Times
  84. A film that means to be seductive but merely progresses from the contrived to the manipulative.
    • 35 Metascore
    • 30 Critic Score
    As reformulated by the aggressively mediocre director Raja Gosnell and screenwriter James Gunn, this Scooby-Doo is entertainment more disposable than Hanna-Barbera's half-hour cartoons ever were.
  85. Ashton Kutcher and Brittany Murphy are attractive and skilled performers as the film's newlyweds, but the movie is so mechanical it's like watching Barbie and Ken dolls going through the motions.
  86. They never generates any real fear until its last minutes, by which time it is too late to redeem the dull events that preceded them.
  87. There are two films at war in director Spike Lee's newest feature 25th Hour, one uninteresting, the other an epic of near-tragic miscalculation.
  88. What's most troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the increasing realization that it actually thinks it's saying something of significance.
  89. My hand trembles slightly as I type these words, but the truth is that while watching 2 Fast 2 Furious, the follow-up to the pleasurably cheap-thrills sleeper "The Fast and the Furious," I realized just how much I miss Vin Diesel.
  90. Crewson is a game, experienced actress but hasn't sufficient star charisma to lift Suddenly Naked out of the doldrums.
    • 32 Metascore
    • 30 Critic Score
    That's not to say there aren't funny moments here. There are. Two, maybe three of them. But unless you're a hearty 14-year-old -- who of course is not supposed to be seeing this R-rated movie -- it's hardly worth fishing them out of the potty humor and repulsive sex talk.
  91. Anders Thomas Jensen's Flickering Lights may have been a huge hit in Denmark, but it doesn't travel well. A bleak male-bonding comedy that's a queasy blend of brutal humor and escalating sentimentality, it is overlong, heavy-handed, slow and unpersuasive.
  92. It's a portrayal so unconvincing it makes it close to impossible for the rest of the film to function as intended.
  93. Leaves us with a heightened appreciation of the bold and personal films made by a number of filmmakers of the former Yugoslavia.

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