Los Angeles Times' Scores

For 8,691 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 Muriel's Wedding
Lowest review score: 0 Boxing Helena
Score distribution:
8691 movie reviews
  1. Make no mistake, Vamps is mostly a misfire, but Heckerling still shows enough flashes of wit and wisdom that she remains hard to entirely dismiss. Don't bury that coffin just yet.
    • 59 Metascore
    • 60 Critic Score
    Ecological passion meets unquenchable self-aggrandizement in the beautifully filmed deep-blue-alert documentary Sharkwater.
  2. You get the sense that Kelly is too angry to really find any of it funny. It's easy to empathize with his position, not so easy to remain engrossed in a film that's occasionally inspired but ultimately manic and scattered.
  3. To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.
  4. The only real reason to catch Eros is to see Wong Kar-Wai's beautiful opening piece, "The Hand."
  5. There's a spirit of generosity to How High that allows many performers to shine beyond its sharp and amiable stars.
  6. Surprise after surprise follows in this increasingly dark comedy, which is loaded with sharp observations and exceptionally complex characterizations.
  7. Endearingly uneven.
  8. The movie is pleasant and charming, but when making a big-screen adaptation of a beloved classic and genuine touchstone for generations, adequate doesn't feel like quite enough.
  9. A leisurely, understated film reminiscent of any number of Japanese counterparts featuring quietly heroic rural teachers. It is easy to label the film as slow, old-fashioned and sentimental, which it certainly is, but it has the tenacity of its heroine, the pretty and intelligent Melinda (Alessandra de Rossi).
  10. Moss brings warmth and dignity to a part that could've easily slid into stereotype, while Camryn Manheim owns her few scenes as Amanda's best friend.
  11. As a diverting way to blow 90 minutes, you could do far worse than this gritty, sometimes nasty, mostly absorbing potboiler.
  12. The film's plot...is more contrived than creditable, motivations are not always clear, and some characters, for instance Kiefer Sutherland as a praise the lord and pass the ammunition Marine, are not very convincingly acted. [11 Dec 1992]
    • Los Angeles Times
  13. An engaging and forthright documentary.
  14. Chittenden and Tzu-yi are expressive actors, but, like the film itself, are hamstrung by the project's self-imposed confines.
  15. The movie is like a big, smug, sunny ball of fluff, batting around in a crystalline cage. It's bright and well-meaning, but there's little to grab onto or feel. Not even the presence of those expert actor/farceurs, Steve Martin and Diane Keaton, give it any real presence or bite. [20 Dec 1991, p.16]
    • Los Angeles Times
  16. There are not one, but two wars raging inside this adaptation: one between the North and the South, and another, more calamitous war between art and middlebrow entertainment.
  17. A kung fu kick of a film that hits more than it misses.
  18. Plot holes aside, the filmmakers provide enough well-timed jumps and energetic moments to keep the highly contained picture afloat.
  19. Like an uncle making a long-winded, embarrassing toast to the bride, Smith may have a lot of defining childhood memories at his disposal, but that doesn't mean they all need to be shared.
  20. Chan is still able to project the boyishness and insecurity of the new kid on the block. But even those aren't enough to make Tuxedo a black-tie affair.
  21. Though its early sections feel repetitive and self-congratulatory, the documentary's tension builds in the way director Mary Liz Thomson uses archival material, much of it from TV news.
  22. [A] contemporary B-movie Western with designs on stylistic flair.
  23. The result is a bit like a weightless swirl of cotton candy with a mere second of sweetness before it dissolves on your tongue. But then there's nothing wrong with cotton candy, and besides, the filmmakers never promised more. I guess they're just not into that.
  24. A tour de force of technical brilliance, with flashes of humor and a wild spirit of adventure signifying that you're not supposed to take it too seriously, but the cumulative impact of its avalanche of mayhem is so numbing that it's enough to shrivel your soul.
  25. More athletes than actors, Raffaelli and Belle are terrific when their bodies are in motion but the movie grinds to a halt when they open their mouths.
  26. Kundo: Age of the Rampant is an often entertaining if overlong look at the last days of Korea's Joseon Dynasty.
  27. The Painted Veil has all the elements in place to be a great epic, but it fails to connect, to paraphrase Maugham's contemporary E.M. Forster, the prose with the passion. It's impeccable, but leaves you cold.
  28. Given the number and range of kids in view, there's a limit to how much specificity can be jammed into one movie.
  29. Annabelle works enough devil figurine juju to make for a modestly hair-raising prequel to the more satisfying scares of its predecessor, "The Conjuring."

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