Los Angeles Times' Scores

For 8,560 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Prisoners
Lowest review score: 0 Bio-Dome
Score distribution:
8,560 movie reviews
  1. You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
  2. Make no mistake, it is lovely to look at this celebrity bedazzled bit of L.A. crime history for a while. But the movie ultimately leaves you feeling as empty as the lives it means to portray.
  3. None of this means that the film is necessarily enjoyable to watch, however, which is often the problem when the rigors of inspired storytelling can't live up to an imaginatively designed filmic world.
  4. Diablo Cody's glib teen-hip dialogue mostly feels like self-conscious splatter over a sorely lackluster scare flick.
  5. Only partially convincing.
  6. The structure, sliding between memories evoked by objects in the house and the common difficulties of moving day, should play with more elegance than it does. Instead, it feels awkward and frequently - as does the film on the whole - too on the nose, too obvious.
    • 14 Metascore
    • 50 Critic Score
    Relentlessly inoffensive, innocuous and vacuous, From Justin to Kelly is nowhere near as bad as its pre-release publicity would suggest.
  7. All I could think about while watching Jennifer Lopez prance through Monster-in-Law was how cool and poised she was in "Out of Sight."
  8. Scotsman not only lacks vision, a true sense of how to mesh Obree's sporting triumphs and personal setbacks, but it also lacks passion. What it needs, as strange and tacky as it may sound, is a bit more madness.
  9. Despite strong portrayals by Guttenberg and his co-star, Lombardo Boyar, and sequences that attempt to open the play up, it remains too much a filmed play, and worse, one that has not been effectively paced. As a result, it doesn't come alive until it's drawing to a close that's unexpectedly touching, if more than a little sentimental, but too late to redeem the preceding tedium.
  10. The results are decidedly more mind-numbing than bone-chilling.
  11. With each succeeding picture, Linklater seemed to grow as a filmmaker, just as his characters became more defined and developed. But with his fourth picture, subUrbia, he takes two giant steps backward.
  12. The movie can't do much to address the inherent flaws in the premise.
  13. Melton and Dunstan have created little more than a hollow shell for an empty box.
  14. Listless, disjointed and disconnected, this meandering two-hour, 32-minute exercise in futility will fascinate no one who doesn't have a blood relation among the cast or crew.
  15. Bram, who also narrates (and writes, with co-director Judah Lazarus and Adam Zucker), may be earnest in his desire for enlightenment. But his approach feels overly self-serving; too much "Me," not enough "Kabbalah."
  16. Lazy, smugly self-satisfied movie.
  17. Peter and Vandy has the decided disadvantage of arriving a couple of months after the similarly structured "(500) Days of Summer," a movie sporting a sunnier sheen, more appealing cast and an actual reason to care about the outcome.
  18. It's a testament to the stars that they manage to sell the third act sentimentality after wading through so much screenplay triteness and unimaginative direction.
    • 32 Metascore
    • 40 Critic Score
    The specificity of Glory's setting and the ethnicity of its characters enrich the story without moving it one iota away from a mainstream frame of reference.
    • 62 Metascore
    • 40 Critic Score
    What the new movie lacks in craft, suspense and metaphoric richness it makes up for with, um, gadgets.
  19. The scenes of servicemen feel somehow false, a screenwriter's idea of military life rather than the real thing. Myrick does an admirable job of spinning tension from a group of guys mostly standing around, but too often the film's portentous tone seems more silly than suspenseful.
  20. Sjogren's promising set-up, designed to unfold with understatement, ends up feeling remote and repressed when Sjogren miscalculates by burying her characters' emotions too far down.
  21. Abduction is just the third movie John Singleton has directed in the past decade, and it contains neither the passion nor the competence of his two previous genre efforts - "2 Fast 2 Furious" and "Four Brothers."
    • 31 Metascore
    • 40 Critic Score
    Kramer shows zero feeling for the nuances of a midlife sexual awakening.
  22. While the gangsta lyrics and posturing are laden with cliché, there's still some novelty in sustaining a rap narration for nearly two hours. But whenever the music stops, the film can never stay in the game by landing on a figurative chair.
  23. A tiresome addiction drama.
  24. Not out-and-out terrible enough to be completely dismissed, while also not particularly memorable either, perhaps the truest summation of the film is to say simply that the new Teenage Mutant Ninja Turtles is a movie that exists.
  25. "Them" is spun from callow romantic notions, the sort that make for heady moments. What's conspicuously missing is any grasp of the lovers themselves.
  26. A concept, no matter how promising, is not a movie, and this picture has the bad luck to illustrate the difference.

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