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 0.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Chaos
Score distribution:
7,892 movie reviews
  1. Yet for all its ballyhooed candor about sexual matters, it's a surprisingly baffling and opaque film, too artistic to be standard pornography and too zealously focused on being graphic to the exclusion of all else to succeed as drama.
  2. [An] earnest but terribly ham-fisted drama.
  3. Chen's grand opus about the perils of the Internet already feels obsolete.
  4. Related to the 1953 Vincent Price film in name, embalming technique and Warner Bros. pedigree only, the new House of Wax is a dreary, predictable tale.
  5. First-time Spanish director Jorge Dorado aims for Hitchcock and misses by a mile with Anna.
  6. 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.
  7. The inherent cinematic potential of one of nature's cutest animals rescues the film from being a total waste of time.
  8. Most depressing is the spectacle of Debbie Reynolds in the de rigueur Betty White role - Hollywood having relegated seniors to the category of adorably "outrageous" while it caricatures single women as desperate updates on romance-novel heroines.
  9. A campy, hopelessly amateurish vanity production.
  10. 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.
  11. A tedious experience.
  12. Writer-director David Hayter revisits much-trod territory with wan results in Wolves, a werewolf tale that quickly loses its initial bite.
  13. Paa
    The film is no more than a tedious, over-long Bollywood soap opera.
  14. Meanwhile, Mirren, that grande dame of cinema, just seems tired. And who could blame her? She's in the midst of this disaster, literally and figuratively dying right in front of us. Made me want to cry, just not for Arthur.
  15. 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.
  16. A "Saw" knockoff without the torture porn.
  17. It's too labored and ponderous to qualify as a so-bad-it's-good amusement. Original Sin is merely an old-fashioned bore.
  18. 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.
  19. You have to be a bit of an arrested adolescent to think "Larry" is funny.
  20. We're more than 45 years out from Roman Polanski's director-controlled masterpiece in gestating terror, and yet no gimmick in Devil's Due — no point-of-view shock cut or shaky-cam "realism" — is as dread-inducing as tracking the grim revelations on Mia Farrow's face.
  21. Addicted doesn’t know whether it wants to be a modern-day bodice-ripper, a morality-tinged cautionary tale or a serious snapshot of sexual compulsion. Whatever the case, it fails on all fronts.
  22. A flavorless snack, time filler until "Saw III" and "Hostel 2" are served up.
  23. 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.
  24. Goofy and gee-whiz when it isn't being post-apocalyptic glum, it is such an earnest hodgepodge that only by imagining "Mad Max" directed by Frank Capra can you get even an inkling of what it's like.
  25. The nonstop adversity lacks any real sense of danger. Or, for that matter, emotional punch. Why these two long-distance runners keep each other alive should be of front-and-center concern. Instead, My Way is mostly an endurance test.
  26. Ready for a singing and dancing "Reservoir Dogs"?
  27. 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.
  28. Turns out to be a tedious and under-inspired comedy.
  29. Misfires badly as both an entertainment and a message movie.
  30. For the sake of the children, The Oogieloves in the Big Balloon Adventure should be allowed to quietly float away.
  31. 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.
  32. There's certainly no energy surge in writer-director Jameel Khan's effort, which is a collection of lazy, look-who's-stupid-or-pathetic vignettes so loosely assembled and laugh-deficient they play as if you're thumbing through a sketch reject pile.
  33. Consider Twelve its own memory-retarding narcotic.
  34. A bust. As murky as its release print, it is a stale, incoherent spy caper.
  35. This film from writer Kenny Golde and director Mark Schmidt slaps a clichéd war-movie dressing over everything so that what should have felt heart-poundingly incredible comes off as heavy-handed, ludicrous and unintentionally queasy.
  36. A leaden murder mystery with a clunky structure that swings back and forth between 1958 and 2008, Stolen wastes the talents of a reasonably good cast.
  37. When Rebecca De Mornay shows up as the criminals' fiercely doting matriarch, the ready crackle of her studiously demonic performance brings welcome distraction from this otherwise crude litany of torture and wretched death.
  38. Lowell, a sitcom actor ("Enlisted") and photographer, lards his "The Big Chill" ripoff with plenty of arty touches... He assumes this will lend the needed heft to paper-thin characters, witless exchanges and emotional recriminations you can see coming a mile away.
  39. The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.
  40. Little parallelism or consequence can be gleaned from Kwak's narrative that crosscuts points between 1963 and 2010. Seeing as his surrogate in the first film is absent in the sequel, the shared cultural memory has also given way to genre exercise.
  41. When a director merely goes through the motions, even Chekhov can be reduced to daytime soap.
  42. Not even a brief appearance by Quentin Tarantino and a ton of references to other movies enlivens the proceedings much.
  43. It's doubtful that records are kept about this sort of thing, but consider the possibility that Clash of the Titans is the first film to actually be made worse by being in 3-D.
  44. 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.
  45. One of the funniest films of the year. That's not good news for this attempted action-adventure, which clearly lost its way in its own copious fog.
  46. The real problem with "Phantom" is the problem with Andrew Lloyd Webber musicals in general. It's a slow-moving orgy of lowbrow grandiosity that's as tedious as it is overblown and pretentious.
  47. A jumble of genres including mob melodrama, bodyguard romance and interracial love story, none of which is handled in a remotely satisfying manner by director Ron Underwood. The film's tone shifts with all the grace of a car with a balky transmission.
  48. Making sense was never a top priority for "K," and its sequel is just as much of a hot mess.
  49. A dreary title for an even drearier picture.
    • 33 Metascore
    • 30 Critic Score
    It's a relentlessly silly horror/fantasy/romance that is merely the latest twist on a tired premise.
  50. This often risible head-scratcher never cracks the surface of its muddled ambitions, largely wasting its iconic settings on a series of motley interactions, Tinseltown trivia and self-conscious philosophizing.
  51. An unsuccessful concoction of sincerity, camp and crassness that is more interested in its parade of D-level celebrities than developing its characters.
  52. Whereas Haneke's films grapple with the blunt force of violence, novice filmmaker Markus Blunder just lets the violence snowball all the way down a slippery slope.
  53. Leaves us with a heightened appreciation of the bold and personal films made by a number of filmmakers of the former Yugoslavia.
  54. Season of the Witch is at its worst when it tries to be a straight-ahead action-adventure film. The early sequence set against the epic battles of the Crusades is almost brazenly bad with its unconvincing "300"-style special effects.
  55. A painfully contrived and artificial exercise in futility.
    • 36 Metascore
    • 30 Critic Score
    War
    War ties itself in knots trying to bring something new to a stale formula. It's never painful to watch, but that's only because it provokes no feeling at all.
    • 61 Metascore
    • 30 Critic Score
    Equally as perplexing as its lack of perspective is the film's overall shortage of information.
  56. 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.
  57. 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.
  58. Something certainly blows here, but it isn't the archangel's horn.
  59. Hansel and Gretel are this movie's breakout stars, but it's not enough to make Hoodwinked Too feel like anything but a storybook hurled straight at your head.
    • 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
  60. Grant has never been less charming and Parker never less fashionable or more grating than they are as Paul and Meryl Morgan.
  61. Where "Superbad" found something raucously winning in hanging with adolescence's loser elite, Harold is a disingenuous, one-note underdog portrait.
  62. A consistently underused and often underrated actor, Kinnear gives one of those sympathetic performances that prevent you from believing the worst about a movie despite the sounding alarms.
  63. All that's missing from Just Like a Woman, Rachid Bouchareb's salute to "Thelma & Louise," is the quality.
    • 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.
  64. For a film that purports to be about the process of maturity and growth, it is woefully un-evolved, lacking in understanding and insight.
  65. 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.
  66. A dismal pastiche of threadbare plot devices and not-so-comic interludes.
    • 37 Metascore
    • 30 Critic Score
    Director Frederik Du Chau's big-screen Underdog has all of the cartoons' crudeness and none of their charm. It's the celluloid equivalent of sugar cereal: cheap, empty and headache-inducing.
  67. Admirers of Rambo III will probably point out that it moves fast. But then, so does a gazelle-and a gazelle has better dialogue and more personality. [25 May 1988, p.1]
    • Los Angeles Times
  68. Good-natured but it's a dud.
  69. The sage-elder/wayward-charge saga Peaceful Warrior aims for inspirational highs but mostly feels like a self-help book read aloud by actors.
  70. The movie perks up during Dinklage's scene as an escort, and screeches to a painful halt for a few conversations with God, who's played by a cloud-roosting Whoopi Goldberg. In a sophomore letdown from "The Woodsman," director Nicole Kassell gives the film no energy or rhythm, while the script pushes all the pre-set buttons.
  71. 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.
  72. It is incredibly tempting to resort to the implied off-color word play made possible by the Focker name and suggest that this third edition is totally - but I won't.
  73. Besides never knowing where to stick a camera, or how long a given scene should last, Hopkins quickly ditches any potentially subversive joy in her cartoon vigilante by saddling her with a redemptive love story opposite James Badge Dale's kind-eyed sheriff.
  74. It's a portrayal so unconvincing it makes it close to impossible for the rest of the film to function as intended.
  75. What we may very well be looking at here is another "Showgirls," a drag camp-fest for the "Baby Jane" crowd, fabulous fodder for future cabaret acts, and a pleasure probably best enjoyed in a crowd -- preferably a vocal one. Dead serious and stone idiotic, the only basic instinct in evidence here is desperation.
  76. The film is strictly straight-to-video action movie stuff, albeit with dialogue in iambic pentameter.
  77. Yet that deeply strange and agitated performance by Quaid is the only thing that makes the film remotely bearable.
    • 35 Metascore
    • 30 Critic Score
    Farnsworth's frenetic, often hysterical first feature tries desperately to find a style, or styles, to call its own, but there's never a moment that doesn't feel as if it's been chewed up and spit out a dozen times before.
    • 46 Metascore
    • 30 Critic Score
    Peel away the layers of contrivances, however, and the leftover plot barely fills a doggy bag.
  78. 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.
    • 36 Metascore
    • 30 Critic Score
    If you swiped the most insipid dialogue of the teenage-angst movies of John Hughes and Kevin Smith and Amy Heckerling, you would still have a script -- and a movie -- far superior to the newest of the genre, Remember the Daze.
  79. Pretty dreadful.
  80. Erased is eminently forgettable.
  81. It's unclear who this blandly titled drama is aimed at — devoid as it is of humor or any real hazard and lacking the provocative undertones of its source material.
  82. The film's theory, that maybe we're all living two parallel lives -- if we even exist at all -- is intriguing, but it's rarely taken beyond the notion that Danny's just dreaming it. The result is, to be charitable, underwhelming, narratively and visually.
  83. Coppola decided that he really wasn't making a horror film after all, but rather a love story, a comic burlesque, a costume drama, a piece of erotica, whatever. But no matter what else you do with it, a Dracula that cannot manage to be more scary than silly is as pitilessly doomed as that elegant old Transylvanian himself. [13 Nov 1992]
    • Los Angeles Times
  84. So instructional is the film, directed by Brook's son, Simon, that it feels like one of those P90X or Insanity home fitness programs: Try this at home. You too can perform on stage.
  85. The climactic collision of agendas is even more contrived than everything leading to it.
  86. There are any number of aspects to The Invisible Circus that simply don't ring true.
  87. Opens and closes on a jaunty note: It's the tedious, relentlessly talky 80 minutes in between that's the problem.
  88. 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.
  89. Whatever his intentions, Clark, in his third outing as a director, has come up with a film that is seriously flawed.
  90. Gone is also your hard-earned money if you buy a ticket to this slack piece of work, a movie that makes "Murder on the Orient Express" feel like "The Silence of the Lambs" by comparison.
    • 34 Metascore
    • 30 Critic Score
    Isn't for teens, it's for the kids who aspire to be teens.

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