Los Angeles Times' Scores

For 9,681 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 That Evening Sun
Lowest review score: 0 Not Cool
Score distribution:
9681 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. It’s a film that dares you to give it a bad review, simply so it can turn around and call you a bully who picks on the people who try. It invites you to giggle at Florence’s horrible singing and then promptly scolds you for laughing, creating a contradiction that goes unreconciled.
  4. The ambitious but unwieldy screenplay suffers from a lack of cohesion and loses control of the nonlinear memories and fantasies of seven people, with some of the characters’ motivations also lost in the shuffle.
  5. Chen's grand opus about the perils of the Internet already feels obsolete.
  6. 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.
  7. First-time Spanish director Jorge Dorado aims for Hitchcock and misses by a mile with Anna.
  8. 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.
  9. The Last Witch Hunter is one of those artlessly restless, exposition-dialogue fantasy-action slogs that, thanks to Breck Eisner's untamed direction, never manages to corral all the potion talk, mythology rationale and leaps back and forth in time into anything remotely entertaining.
  10. The inherent cinematic potential of one of nature's cutest animals rescues the film from being a total waste of time.
  11. 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.
  12. Except for a reliably flavorful turn by John Hawkes, compelling in a few key scenes as Henry's accomplice, The Pardon remains stubbornly uninvolving.
  13. Playing It Cool is a strained romantic comedy that seems to exist only to show how many talented, successful actors — first and foremost "Captain America" star Chris Evans — can be featured in one unworthy movie.
  14. An unpleasant exercise in self-indulgence
  15. A campy, hopelessly amateurish vanity production.
  16. 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.
  17. A tedious experience.
  18. This movie’s about as scary as a jackhammer.
  19. Somehow, despite the sexist, foul-mouthed rancor, there are messages to be found about the false promises of toxic masculinity and learning to be the person you want to be without repeating the sins of your parents. Though it’s rough going to get there.
  20. Writer-director David Hayter revisits much-trod territory with wan results in Wolves, a werewolf tale that quickly loses its initial bite.
  21. Paa
    The film is no more than a tedious, over-long Bollywood soap opera.
  22. 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.
  23. 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.
  24. A "Saw" knockoff without the torture porn.
  25. It's too labored and ponderous to qualify as a so-bad-it's-good amusement. Original Sin is merely an old-fashioned bore.
  26. The jokes are often juvenile and gross, unsophisticated and insensitive, but one does not wish to strike juvenility or grossness or even insensitivity outright from the comic tool kit; these just aren't all that good.
  27. First-time director Daniel Duran, working from a screenplay by Oscar Torres that abounds in the maudlin and risible, isn't able to lift the ham-handed material to a place where it might ring true.
  28. 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.
  29. You have to be a bit of an arrested adolescent to think "Larry" is funny.
  30. 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.

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