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 Les Destinées
Lowest review score: 0 Dead Silence
Score distribution:
8691 movie reviews
  1. A film rich in atmosphere but emotionally as blunt as its title.
  2. Like Moore's film, Celsius hits too many topics with too broad a brush, resulting in yet another contribution to this campaign season's spin cycle of rhetoric.
  3. As advertised, A Knight's Tale does try to rock you. The problem is, it doesn't rock you nearly enough.
  4. The impulse to shtick it up to burlesque-level inanity is encouraged at every turn.
  5. Strictly for the very young who will find giggles in the anthropomorphic mash-ups and won't be too distracted by the predictably mawkish sitcom plot.
  6. Has to fight to hold our attention and it doesn't always succeed.
  7. There are lots of hilarious, off-the-wall incidents, and the film has a likable freewheeling spirit to go with its knockabout plot. But the film isn't as remotely funny as it means to be.
  8. Director Kevin Rodney Sullivan milks the film's one joke for all it's worth - which isn't much - before settling into the rote rhythms of a buddy picture.
  9. With two of the world's biggest stars in tow, the creators of The Devil's Own can be forgiven for figuring that nothing else really mattered. If you've got Harrison Ford and Brad Pitt, do you really need a coherent script? Unfortunately for everyone concerned, the answer is yes.
  10. Under Australian director George Miller ("Mad Max"), The Witches of Eastwick begins so promisingly. It has such smashing separate moments, so succulent a cast and so interesting a premise that watching it crumble into stomach-turning crudeness and "Poltergeist"-scale special effects is deeply painful.
  11. The teenager's journey through a nightmarish reverie presents hallucinogenic imagery that simultaneously dulls the senses and hot-wires the imagination, but it never fully engages emotionally.
  12. The film is more lifestyle puff piece than journalism.
  13. While it's difficult to dislike what this film tries to do, the way it does it is more problematic.
  14. A performer of formidable self-absorption, Johnston has inspired a film with the same trait, and the results are about what you might expect.
  15. A film that never quite manages to justify its existence.
  16. The oddball script by Mitch Glazer ("Scrooged"), as directed by Barry Levinson ("Rain Man," "Good Morning, Vietnam"), takes so long to bring Richie and Salima together, it deprives us of the kind of fully fleshed dynamic the story so desperately needs.
  17. Guilty of squandering resources. Amusing as it goes about setting up its premise, in Witherspoon, the gifted veteran of "Election" and "Pleasantville," it has an actress willing to throw herself completely into the part to excellent effect.
  18. A dark piece of whimsy that enchants and befuddles in equal measure.
  19. [Aselton's] disregard for her male characters causes Black Rock to spiral into dudette "Deliverance."
  20. The cartoonish movie might have made for a funny half-hour short or sitcom pilot but runs out of track well before its conclusion.
  21. Danny Elfman's intense score contributes crucial energy, John Thomas' camera work is first-rate, but the ambitious Freeway ends up merely trashy.
    • 43 Metascore
    • 50 Critic Score
    The outline of a great story, but it never fills in the gaps.
  22. In the end Anna Karenina lets you down - visually stunning, emotionally overwrought, beautifully acted, but not quite right.
  23. As amiable art-house fluff, it's a passable way to kill time.
  24. Despite its dollops of good-natured humor and sentiment, Blow Dry is likely to play better on the tube as a likable-enough diversion.
  25. This journey into "Martha Marcy May Marlene" territory is never as tense and gripping as it should be, the incidents and most of the performances too tamped-down to spark a much-needed sense of animating friction.
  26. As its plot thickens, Waist Deep gets more outlandish. The whole mess empties out into an overextended car chase through Los Angeles.
  27. The noir atmosphere doesn't quite smother the dialogue's cheesy smell.
  28. In effect, aspects of Gibson's creative makeup -- his career-long interest in martyrdom and the yearning for dramatic conflict that make him an excellent actor, coupled with his belief in the Gospels' literal truth -- have sideswiped this film. What is left is a film so narrowly focused as to be inaccessible for all but the devout.
  29. Pattinson could have the makings of a brilliant career, something more than the hot streak he's got going as the "it" guy of the moment. The same problems plague the film, which is beautifully shot but its emotional potential unrealized.

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