Los Angeles Times' Scores

For 11,106 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Goodfellas
Lowest review score: 0 The Tiger and the Snow
Score distribution:
11106 movie reviews
  1. The film clearly comes from a place of deep knowledge about the intricacies of schizophrenia but has an unfortunate tendency to overexplain itself.
  2. Flat jokes, uneven performances, and a predictable romance help make Bounty Killer a lot less fun than it should be — a killer shame, given its boldly gonzo premise.
  3. Lightly reflective and consistently entertaining, Lucky Break is an easy-to-take diversion.
  4. Has the hit-machine aura of something whipped together by L.A. studio execs over avocado sandwiches and banana smoothies.
  5. May make you weep, but not in the way anyone intended. Handsomely made, well-meaning but finally frustrating and unsatisfying, this perplexing film is an example of a previously unseen hybrid, the socially conscious, humanitarian action movie. It doesn't appear to be a genre with much of a future.
  6. A pleasure to look at. It's filled with fine, imaginative moves and an overarching sense of visual freedom, a feeling of play that entices us into enjoyment. But, when it comes to dialogue and story, this Sinbad apparently used up all its initiative changing its hero's ethnicity to generic Greco-Roman.
  7. Chomsky deserves a more thoughtful documentary than Power and Terror, and in fact he got it in 1993's "Manufacturing Consent: Noam Chomsky and the Media" --The film's main flaw is the absence of other voices -- From a cinematic point of view, two sides of an issue are always better than one.
  8. Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
  9. The film's repetitious, episodic structure seems to unnecessarily alleviate the building tension, making it a far less frightening film than it might have been.
  10. What makes this intriguing, yet woefully uneven film so relatable is that there is nothing about Ned's experience that seems extreme.
  11. Despite the considerable physicality of the movie, with its impressive cinematography and Radcliffe’s believable, all-in disintegration, it’s more earthbound slog than psychological deep-dive.
  12. The movie is an album-sleeve-thin romance steeped in a self-congratulatory Williamsburg, Brooklyn, vibe.
  13. In truth, the film fizzles as much as it fumes.
  14. Parker Posey, the queen of the indies, is a stylish actress, but there's not much she can do with the flat, trite sex comedy The Oh in Ohio, written by Adam Wierzbianski and directed by Billy Kent without a trace of imagination or originality.
  15. Less than terrific technically; focus and sound levels waver. Luckily, these flaws are not inconsistent with the film's raw, unvarnished tone and they do not diminish the effect of Leary's performance or that of Davis.
  16. Feels out of shape and self-satisfied, as if it knew it didn't have to try very hard.
  17. Some of what happens feels real, a lot doesn't, but even when the screenplay groans with clichés, the four lead actresses play their parts with truckloads of heart.
    • 48 Metascore
    • 50 Critic Score
    A mash-up of indie-film tropes.
  18. The film's colorblindness does not make up for its latent sexism.
  19. Although this horror flick is somewhat absurd and seemingly forgettable when viewed in a vacuum, its coincidentally contemporaneous release with "Blue Is the Warmest Color" urges immediate reconsideration.
  20. Imitating the Bourne capers rather than establishing an identity of its own, “The Take” is a strictly by-the-numbers political thriller that fails to capitalize on Idris Elba’s formidable screen presence.
  21. The war crimes and romance stories theoretically run on parallel tracks, but the overall pacing is ragged and the dialogue frequently out of step with the characters we've met.
  22. Chicken Little, though it has its moments, mostly just feels anxious and overreaching. It tries to be all things to all people and fails to be anything to anyone.
  23. 21
    What might have been a complex story dealing with greed and high-stakes betrayal among the young intellectual elite in America's gaming playground is instead treated as a slick, glossy romp.
  24. There are misfires in Sucka, but there's also some funny stuff. Wayans shows a refreshing taste for self-mockery. [17 Feb 1989, p.8]
    • Los Angeles Times
  25. By the time the movie introduces an element of ambivalence in the story, lecture hall ennui has long ago set in, and no amount of jittery horror movie conventions can change it. With nowhere for any of the characters to go, literally, the story becomes a tendentious exercise in belaboring a point.
  26. Envisioned as a psychosexual thriller about a woman scorned, director Atom Egoyan's latest puzzle is just puzzling, little more than a messy affair with mood lighting, sexy lingerie, heavy breathing and swelling, um, music.
  27. Tony Burrough's vast Toy Workshop and Elf Village at the North Pole is the film's strongest asset. The workshop is a dazzling and accurate display of the Art Nouveau style in sinuous full flower.
  28. In Linney, Morrow has chosen a formidable co-star, an actress who seems to draw upon an unusual degree of self-awareness to endow every character she plays with dimensions beyond what any script could provide.
  29. Drags its uninspiring action out too long for anyone's good.
  30. If The Core finally has to be classified as a mess, it is an enjoyable one if you're in a throwback mood. After all, a film that comes up with a rare metal called Unobtainium can't be dismissed out of hand.
  31. Starts out deliriously funny but allows sentimentality to squeeze it to a pulp by the time it's over.
  32. A tedious, precious fantasy.
  33. Like us, the deft and merciless director Daisy von Scherler Mayer ("Party Girl") sides with the girls, and to stack the deck she's hired five tremendous actresses.
  34. The spectacularly brutal fighting is the film's main calling card, and in that "Rise of an Empire" doesn't disappoint. Still, in the battle for best guilty pleasure, I'd give it to the Spartans of "300," by a head.
  35. Mostly Lockout is lost in space.
  36. Director Johanna Demetrakas has decided to simply present the man in all his demanding complexities and let him and his encounters with associates speak for themselves. Her only rubric is the one visible in her title: "Crazy Wisdom."
  37. Most B-pictures imitate other movies, but writer-director Mickey Keating’s Carnage Park steals so freely that it almost becomes derivative in an original way.
  38. Cathey brings a burnished, bone-deep authority to the question of who music belongs to, and it's handled in a way that doesn't forgive the movie's tonal missteps, but also doesn't dampen its earnest nostalgia for a lost time.
  39. Everything that might have set Sleeping With the Enemy apart and made it memorable--textured central characters, psychological depth or a shred of believability--has been swept aside in the rush to make the movie a luxury item, sleekly gorgeous, blankly watchable, not unlike its star Julia Roberts.
  40. Like many found-footage films before it, The Den never entirely suspends disbelief. It doesn't satisfyingly account for how the characters are producing all the footage.
  41. A movie that's more convoluted than satisfying.
  42. The confident, female-driven sensuality of Kiss of the Damned anchors this handsome nonsense.
  43. The problem with High Crimes, acceptable though it is, is that it's not close to anyone's best work.
  44. Ultimately everything wilts under the weight of the complicated story lines of its many saints and sinners.
  45. If you're thinking of seeing it, and you're old enough to drive (or even read this), do yourself a favor and rent the original instead.
  46. While Alien Trespass stays true to the era and the genre, it forgets that its mission in this galaxy is not merely to pay tribute but to entertain.
  47. As so often happens with love, what you hope for is not even close to what you get, and in this case we are left with a heartbreaking disappointment of a film.
  48. Though there's no shortage of mustache-quivering energy and wide-collared strutting, Angel of Evil can't separate itself enough from the pack as a character piece to be memorable as anything other than a blood-spattered timeline.
  49. The force of the film is not as profound as Shakhnazarov clearly intended, and The Rider Named Death is easier to respect than enjoy.
  50. The film is haphazardly structured, undercutting its potential power.
  51. Josh Goldin, a longtime screenwriter whose credits include "Darkman" and "Out on a Limb" -- and whose wife is a writer at the L.A. Times -- makes his debut as a writer-director with Wonderful World. The results of Goldin's dual efforts are promising but uneven.
  52. While endearingly heartfelt and G-rated to boot, its storytelling suffers from a lack of locomotive force and characters that feel disappointingly two-dimensional.
  53. What aims for Hitchcockian slyness ends up an inconsequential jumble in the comedy thriller The Perfect Host.
  54. Overwritten and under-directed by Maurice Jamal, the movie contains several honest moments but remains too awash in clichés and stereotypes to take seriously.
  55. There's no real rigor or craft applied to this story -- just mood, tone, neo-gothic imagery and frantic attitude. If only Penelope knew what it truly wished to be and how to go about it. Which is probably what this overly coy fantasy's modestly appealing title character wishes as well.
  56. The best thing about Klinger’s time/memory/dream aesthetic is how it looks: the visual equivalent of an audiophile’s nostalgia for vinyl. But the time jumping feels precious, and the screenplay — written by Klinger and Larry Gross — falls too easily into clichés.
  57. A warmhearted horror show that puts cliched movie people into a realistic situation, the signals it sends out are nothing but mixed.
  58. This is a work of excess and passion, an untidy sprawl of a motion picture that is sometimes ragged, occasionally uncertain, but -- and this is what's important -- always warm, accessible and rich in emotional life.
  59. By interweaving a very contemporary love story into these themes, DiCillo has at least given it all a fresh spin.
  60. Kampai! For the Love of Sake serves as an occasionally enlightening if long-winded primer that will prove best suited to connoisseurs.
  61. So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
  62. Though the distressingly large lollipop heads of the characters are often disconcerting, some of the animation is striking and near photorealistic. At times though it seems all of the resources have been put into the background environment instead of the characters.
  63. The Mountain Between Us is an uneasy hybrid of a film, and its successes and disappointments show the benefits and drawbacks of hitching your film to a pair of stars.
  64. A plodding, squeaky-straight Time-Life tribute to the greatest generation, the movie plays like a commemorative plaque.
  65. Despite a soulful turn by Dinklage and some thoughtful themes and emotions, the film, capped by an anti-climactic ending, never coheres into the gripping, mind-bending package that was clearly intended.
  66. Many of the transitions between narrative and music are rough. The temptations of the street, all too real in the real world, feel forced. Confrontations become clichés. The substance of human motivation is missing. And thus the heart never beats as it should.
  67. The bulk of the movie is a series of sight gags and set pieces that wreak much havoc but little else.
  68. Much of Craig Chester's good-hearted love story Adam & Steve is silly and contrived, but the film boasts four engaging actors.
  69. It doesn't gel and lacks the kind of visual kinetic energy we’ve come to expect from films of this ilk.
  70. Sweet but dramatically inert.
  71. Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]
    • Los Angeles Times
  72. With actors this good, however, there's rarely a pinched expression, heartfelt speech or laugh line that isn't at least partly sold, even if the stunted-male psychologizing at the expense of the under-written women grows tiresome.
  73. Everything has been significantly amped up -- bigger, louder, further removed from reality -- but it also feels that much more forced. Cage and Kruger seem like they're not having much fun this time around, and Bartha still gets the best throwaway lines.
  74. As for the title, it's a nod to the jazz music that Don's off-the-grid dad shares with his more buttoned-up son. But, like most everything else here, it feels more contrived than authentic.
  75. Slater has some effective moments and Franco excels at a certain kind of scary/funny psycho, but it doesn’t ultimately add up to much as either pulpy trash or exposé.
  76. xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
  77. It does not have as much invigorating freshness as audiences have come to expect in computer animation.
  78. The movie finally feels more manufactured than organic, a travelogue of portent, complete with plangent guitars and peopled by characters from the backwoods playbook.
  79. It’s bland enough to serve as a kind of palate cleanser at the end of a long and punishing moviegoing summer.
  80. In the end, Hannah Montana: The Movie is big, beautiful, a little boring and utterly safe. There are flashes of inspiration -- the "Hoedown Throwdown" dance, the scenes between Martindale and the Cyruses -- but it also is what it is: Miley Cyrus' next big step.
  81. This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.
  82. Willow is a perfectly agreeable tale of magic, little people, heroic warriors, babies among the bulrushes and a wicked queen who must be overthrown lest the world be engulfed in evil. If it evaporates from memory with the airiness of a bubble bath, at least it leaves a friendly glow and a sense of a magical world lovingly evoked. [20 May 1988, p. c1]
    • Los Angeles Times
  83. The film is well-made — the direction is strong, the cinematography by Barry Markowitz compelling and the script by two first-time writers is confident. The biggest problem with the film is Charlie himself.
  84. Smile is like a dose of cod liver oil: It may be good for you, but it's no fun.
  85. You can reliably forecast most of the beats in Blayne Weaver's breezy romantic comedy Weather Girl, but that doesn't diminish the small pleasures the movie delivers.
  86. It's a low-key road movie that doesn't stray far from the very, very beaten path.
  87. Gorgeous and naturalistic shots by cinematographer by Autumn Durald speak volumes, and the atonal, foreboding score by Nathan Halpern creates a sense of dread, though they are ultimately squandered in an underdeveloped story.
  88. Plays like the setup for a movie that never materializes. It has all the elements for a successful comedy, but once the premise is presented, the film doesn't know how to deliver on its promise. That doesn't mean there is no fun in "Fun."
  89. Certainly a sweet, life-affirming picture, but it's just not authentic or captivating enough to justify its wildly concocted scenario.
  90. When this well-acted picture calms down and focuses on real emotions, it proves a poignant, absorbing look at a modern family.
  91. A vaguely amusing formulaic comedy with a premise that turns out to be more discomforting than endearing.
  92. While Yamamoto's bullets never miss, Kitano's attempt at tragic grandeur of "Godfather"-esque proportions misses to an almost embarrassing degree.
  93. There's enough atmosphere, mayhem and just plain energy to make the film a viable midnight movie.
  94. Light and frothy though all this is, there is an off-putting element to "Josie," and it's what must be the film's world record number of product placements.
  95. It's a good thing Better Than Sex, which is pretty raunchy and absolutely not for prudes, does have more than sex on its mind, because otherwise audiences might be tempted to dismiss it as a tease.
  96. For the most part successful, focusing on the struggles of Muhammad's followers in 7th century Arabia. The reliance on point-of-view shots, however, is at times disorienting and creates the unintentionally comedic effect of a prophet-cam panning back and forth or up and down as Muhammad moves his head.
  97. An unfortunate melding of style and subject matter, too intent on turning the Little Tramp into an icon to be regarded with stately awe to do justice to the disturbing energy of his life.
  98. It's too thin to be satisfying. It consistently sparkles and moves along gracefully, but at a mere 81 minutes it leaves you unsatisfied. Although trimmed from an R to a PG-13, reportedly in light of the AIDS scare, you're nevertheless left with the feeling that more than sex ended up on the cutting-room floor. [19 Sept 1987, p.9]
    • Los Angeles Times
  99. The young stars are attractive and capable, but Hotel de Love is as synthetic as an old "Love Boat" episode.

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