Los Angeles Times' Scores

For 8,426 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Hedwig and the Angry Inch
Lowest review score: 0 Christmas Ride
Score distribution:
8,426 movie reviews
  1. The first-time director's unflinching camera, deliberate pacing and maddeningly long takes just amplify the story's innate harshness and test audience endurance levels.
  2. Though enlivened by occasional touches, "Smilla's" is like the food at Taco Bell: exotic only to someone who hasn't experienced the real thing.
  3. "Battle of Gods" delivers not only the familiar look but also the slapstick comedy, character interaction and over-the-top martial arts fights that "Dragon Ball" fans want and expect.
  4. Aside from a few missing transitional beats and one too many coincidental encounters, the picture's fluid, zigzagging sexuality and emotional high-diving prove largely credible and diverting.
  5. Peirce has done a remaking rather than a reimagining.
  6. Above all, its gratuitous graphic gore and exploitative nudity are unmistakably giallo. What "The Strange Color" lacks is the heart that separates a good film from a great one.
  7. Many of the performers have a distinctly unpolished way about them, almost as if they actually were turn-of-the-last-century townsfolk, which leads to some deeply eccentric line readings, but it also gives the entire film an unvarnished quality that remains curiously engaging.
  8. A sensitively told story of first love that could have been more affecting with a little more grit and without so mawkish a score.
  9. Assaulted: Civil Rights Under Fire is a reasoned counter to Michael Moore's "Bowling for Columbine" and, as such, a constructive addition to the current national firearms debate.
  10. Skippable 3-D aside, it's a serviceable, limber follow-up to 2010's "Percy Jackson & the Olympians: The Lightning Thief."
  11. The appeal of the cast, the witty dialogue, the gorgeous costumes and production design, and the refreshingly grown-up subject matter can't be discounted. Maybe it is about compromise, after all, because though Married Life has its moments, it's bewildering as a whole.
    • 66 Metascore
    • 60 Critic Score
    Dark Horse is a comedy of bad manners that's imbued with uncertainty about the world and one man's place in it. Modest and mildly entertaining, it's a miniature portrait of a potentially jumbo-sized failure.
  12. For a film that has allegedly undergone extensive tinkering following its premiere at last year's Cannes Film Festival, Down in the Valley abounds in nagging loose ends and suffers overall from logy pacing.
    • 51 Metascore
    • 60 Critic Score
    Step Brothers is not a retread so much as a reduction, stripping away the magical pretext of "Elf" and the period trappings of "Anchorman" to get to the heart of the thriving man-boy genre.
  13. Lee's energy never flags, and She Hate Me resonates with authority and impact and daring, but the messages it sends are mixed.
  14. Besson's restored Big Blue proves mystical, intriguing.
  15. Ultimately satisfying and successful version of the opening volume of the celebrated "His Dark Materials" trilogy.
  16. An acceptable star vehicle, no better or worse than it should be, a well-worn standard diversion that gets the job done without eliciting either howls of fury or paroxysms of delight.
  17. Solidly done if somewhat unremarkable, there is nothing particularly wrong with "Broken," nothing that needs fixing exactly, and yet it never fully comes together.
  18. Even fairy tales could use a bit more substance than this.
  19. The lack of a compelling lead figure, combined with Schnabel's tentative approach to the material, casts the film's later stretches in the balmy glow of soap opera.
  20. Skims a host of provocative surfaces without truly dissecting the self-absorbed playboy.
  21. For all its visual surprises and visceral shocks, Lunacy is still the kind of film that is easier to admire than it is to actually like.
  22. Droll, unforced humor and low-magnitude emotional tremors register persuasively thanks to the natural performances of the three leads.
  23. Like its central character, Henry Jaglom's 16th feature is gangly and graceful, awkward and tender, a jumble of astute observation and clunkily heightened reality.
  24. The pervasive historical reenactments and voiceovers, however, while clearly well-intended, often turn this otherwise vital film into an uneasy hybrid of authenticity and artifice.
  25. Dear Frankie's surprises are few and low-key, but the story wraps up nicely.
  26. Although it favors breadth over depth, the documentary The United States of Autism offers a tender look at an eclectic array of children, their parents and other individuals affected by this ever-increasing developmental disability.
  27. There's enough atmosphere, mayhem and just plain energy to make the film a viable midnight movie.
  28. An oddly appealing, if innocuous, movie of considerable charm.

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