Los Angeles Times' Scores

For 8,703 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 It Felt Like Love
Lowest review score: 0 Being Human
Score distribution:
8703 movie reviews
  1. The problem is that although the characters in Mistress America deliver witty, fast-paced dialogue, they rarely actually seem to be talking to each other, instead facing the audience.
  2. Writer-director Paul Leyden does a decent job holding our interest as well as providing a few intriguing twists and reveals. But make no mistake, this is exceedingly far-fetched stuff.
  3. Though it's handled with little subtlety, the way the atmosphere of suspicion in Vichy France filters down to the kids is a smart slant on the material.
  4. Morelli uses plentiful flashbacks drawn from the earlier movie and television series that are at times intrusive to the narrative but eventually serve to deepen the relationship of Ace and Laranjinha.
  5. It's an interesting take, and it always holds our interest, but it's finally too ham-fisted to be a completely winning one.
  6. As far as documentaries go, the film is exhaustively researched, interviewed and documented.
  7. What helps offset the predictable in this very predictable movie is a series of show-stopping numbers, so props to the folks who oversaw music and choreography. But the true saving grace is a few of the central players.
  8. The film's tone is on the sitcom side, but its likable cast and zany subplots make it palatable.
  9. Not as inspired or amusing as it might be, leans heavily on the considerable charm of its three young and attractive principals. Their charisma and the film's larky spirit, English locales and elaborate cons might be just enough to divert easily satisfied date-night audiences.
  10. If the scenario is unconvincing, debuting writer-director Max Winkler has a feel for the dynamics of this kind of ritualized yet informal social gathering, and his affection for his characters is clear.
  11. To fully appreciate the extreme lowness of Your Highness, it's best to accept that this sometimes witless and sometimes winning comedy has absolutely no socially redeeming value.
  12. Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself.
  13. As a director, Moore is like an energetic puppy who's all over you all at once. You admire his energy, and it's awfully hard to get angry at such high spirits, but you can't help but wish he'd calm down just a bit.
  14. Ripped directly from Disney's playbook of inspirational sports movies, it's devoid of any original elements that might deter it from that successful formula, hewing closer to the sentimental cliches of "Remember the Titans" than the much better "Miracle" or "The Rookie."
  15. No matter how seriously everyone works to make the CIA impossibly sexy, the illusion that these pencil pushers are incarnations of Bond, James Bond, is difficult to sustain.
  16. The mix of callous humor and romantic doom doesn't always hold up, but in its best moments, The Wannabe finds real spikiness in the pitfalls of anti-hero worship.
  17. The French are very good at taking sit-commy setups and cloaking the machinery with charming and surprisingly resonant comic nuance.
  18. While the story plays better on the page than the screen and some of the film's elements work better than others, a proficient Ron Howard version of things is certainly competent if only occasionally thrilling.
  19. While the film glistens a bit now and again, a closer look reveals you've been diverted not by a diamond but by a genuine synthetic zircon.
    • 70 Metascore
    • 60 Critic Score
    King Corn is entertaining enough, but it's also a moral, crucially skeptical road trip down the food chain.
  20. A film truly geared to the 6-year-old level. If not younger.
  21. An amusingly sentimental whiff of a romantic comedy.
  22. There's good cause to shake the biopic form out of its exhaustively linear, birth-to-death rut, and Bertrand Bonello's Saint Laurent — starring Gaspard Ulliel as the storied French designer — valiantly tries.
  23. The Sparks-styled romance has almost become its own movie genre - predictable, pure of heart, sentimental and never straying from the boy-meets-girl basics, or the surface, for that matter - and in that The Lucky One delivers.
  24. Distractingly lovely to look at, the film can't make Sangaile's struggles or triumphs matter. Its soaring conclusion feels anticlimactic, the story drifting off into air.
  25. If anything, the manic energy and aggressive sarcasm of Wain's "Role Models" (2008), which also starred Rudd, has become much more refined in Wanderlust, (well, as refined as something this raw can be).
  26. Has sufficient mayhem to please Diesel's action fans while allowing the star to reach out to family audiences.
  27. The kindest thing that can be said about Sandler's sense of humor is that it's unapologetically juvenile.
  28. Corpse Bride has more warmth and appeal than its title would indicate, but it is finally more grotesque than good-humored. And, even at 75 minutes, it feels longer than its content can comfortably support.
  29. Directed in bold, energetic strokes by Taylor Hackford, "Devil" is fine disreputable fun at first, a stylish and watchable hoot. But then its tone changes, the plot goes gimmicky and bombastic speeches about the nature of good and evil clutter the airwaves and confuse the issue.

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