Los Angeles Times' Scores

For 7,180 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Truman Show
Lowest review score: 0 Formula 51
Score distribution:
7,180 movie reviews
    • 31 Metascore
    • 30 Critic Score
    Too often is as garbled as Pootie's own jargon.
  1. No place for literalists, but Ferrera fans should be pleased with this tale.
  2. It is ultimately more routine than provocative, despite the timeliness and seriousness of the issues it raises.
  3. That rarest of all genre hybrids, the screwball-romantic-action-situation-black comedy. Rare for good reason. Who'd want to see a thing like that?
  4. A frantic, badly constructed, slightly offensive muddle that doesn't so much end as run out of things on a checklist.
    • 31 Metascore
    • 20 Critic Score
    Lacking real kick, High School winds up as irksome as a bag of ditch weed and as lame as the pun of the film's title.
  5. Although competently acted and directed, lacks a fresh point of view and its people lack individuality.
  6. A mess of a film that can't quite figure out what it wants to be: an illicit love story, a political thriller or a coming-of-age set piece
  7. Blackmail Boy reaches for tragedy but settles for soap opera.
    • 31 Metascore
    • 10 Critic Score
    The problems that plague the movie land squarely with the writer, director and producer, Deborah Kampmeier, who has crafted a howler of a bad script, shows little affinity for working with actors and displays no visual sense behind the camera.
  8. Hollow, simple-minded and about as profound an experience as stepping in a pile of road kill.
  9. A woeful little comedy that runs out of steam shortly after its opening sequence.
  10. 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."
  11. Stirring, often tragic yet hopeful, In Search of Peace benefits from its eloquent narrator Michael Douglas, and from the voices of Edward Asner, Anne Bancroft, Richard Dreyfuss, Miriam Margolyes and Michael York.
  12. Amiably glossy if naggingly old-fashioned.
  13. A small picture of many satisfactions.
  14. A bust. As murky as its release print, it is a stale, incoherent spy caper.
  15. While First Daughter is nowhere near as airheaded or disingenuous as "Chasing Liberty," it's far more confused.
    • 31 Metascore
    • 30 Critic Score
    Deception would be laughably bad if it weren't so rotely inert.
  16. Old-fashioned in the worst sense, Bardwell's ghost story is heavy on Freud, light on fear.
    • 31 Metascore
    • 50 Critic Score
    With dependably creepy character actor Sid Haig to goose things along as leader of the locals, Creature is delightfully dopey.
  17. The trouble is that it's hard to care about poor Wayne when he seems so empty-headed and naïve - civic unrest in Peru on the eve of its first democratic elections in 1980 is the setting - and when the movie itself seems so unfocused.
  18. Live at the Foxes Den comes off like some long-unproduced Broadway musical finally dusted off when someone raised enough money to mount it as a film production instead.
  19. Director/co-screenwriter Gabriel Bologna, working vigorously at hokey predictability, wastes little time getting us to wish his obnoxious characters (why do people who seemingly hate each other always vacation together?) would find their inner maniacs already.
    • 31 Metascore
    • 20 Critic Score
    A flat-footed film.
  20. The day-to-day realities, especially economic, of Sonny and Jewel's lives could have been more fully detailed to good effect, and Cage might have also have risked setting off the tenderness of his storytelling with an edgier style. Even so, few films take the viewer by surprise with such emotional impact as Sonny.
  21. A funny, raucous action comedy, effectively teams Martin Lawrence and Steve Zahn in a film that's both laugh out loud funny and surprisingly subtle.
    • 31 Metascore
    • 40 Critic Score
    The original "Texas Chainsaw Massacre" leaves audiences feeling hollowed out, dispirited and dissolute. Texas Chainsaw 3D is simply a bummer for being a big nothing.
  22. There is enough ridiculous fun in the Tracy Morgan- Bruce Willis pairing as two of Brooklyn's "finest" to get many of you past the squirm-inducing stuff.
    • 31 Metascore
    • 30 Critic Score
    Lawrence's natural, disarming screen presence is ill-suited to something as mannered and labored as House at the End of the Street, and at moments it's as if she freezes up, unable to simply throw on a scared-face for no good reason.
  23. Weaver's last ditch attempt to upend rom-com convention and rewrite the movie as a skeevy lout's comeuppance hardly makes up for the clichéd slog that comes before.
  24. Director/co-writer Adam Sherman's Bukowski-lite character study is one of those exercises in masculine self-pity and glib misogyny that frustrates because of its shortsightedness.
  25. Though the new film has some good things, it does not have enough of them to make the third time the charm.
  26. What Idle Hands lacks in originality, it makes up for in energy and insolence. It takes guts for a movie to indulge as much as this one does in proto-hippie humor and you find yourself tickled, in spite of yourself, by the movie's nerve, if not its jokes.
  27. Frankly, the film's real surprise is that it doesn't collapse under the weight of its sanctimonious posturing and howling pretension. The film is crammed with high-cultural references and people playing "smart," but none of it adds up.
    • 31 Metascore
    • 30 Critic Score
    Schifrin wisely holds off showing the monster -- because once the creature is revealed, the already shaky film takes a turn for the worse. The costume for the monster looks like a cross between a drugstore Halloween mask and leftover molds from the horror chestnut "Leprechaun."
  28. For all the attempted intrigue and mayhem, the film is dullsville, mired by a poky script, unremarkable action and, the hard-working Garcia aside, uninspired performances.
  29. Because it is fearlessly sincere and not totally successful, Winter's Tale is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures.
  30. The dreary, loud, amateurish horror-comedy A Fantastic Fear of Everything...isn’t terribly interested in logic. Or continuity. Or filmmaking acumen. Or, most glaringly, laughs.
  31. Overly preachy and maudlin but is saved by its obvious sincerity and forthright sense of purpose, and further enhanced by its rich color cinematography.
  32. The result is a movie that's hard to laugh at when its hero would surely be either in jail or perhaps even a mental institution were he to behave the way he does on screen in real life.
  33. Andreas is way too low-energy to hold the screen as the film's lead, but he was wise to surround himself with a talented cast. Unfortunately, the wooden dialogue and overall shallowness of the writing keep the film from being even an amiable diversion.
  34. Bubbly to the point of indigestion and mechanical about ticking off the romantic trajectory.
    • 31 Metascore
    • 30 Critic Score
    A movie where the only conception of life seems to come from other movies makes for no kind of movie at all.
  35. Jack is more depressing than the weight of its demerits because of the quality of the work both these men have done before.
  36. To consider Harry and Max as being about incestuous feelings would be shortchanging it, because the film is really about the evolving nature of love and the need to define it.
  37. Brings vampires, werewolves, zombies, detective noir and spoofy comedy together for a murky genre gumbo with barely any flavor.
    • 31 Metascore
    • 50 Critic Score
    Some grace notes and riffs ring true, but mainly it plays like a familiar tune on a broken record.
  38. Much of the humor is overly familiar, and the broader elements feel strained when it veers toward melodrama in its final third.
  39. It's increasingly hard to work up a fright on the screen these days, but even if The Cave doesn't exactly terrify, it's fun and looks great.
  40. The best of the Alex Cross mess suggests that as an actor, he has the talent to move beyond the world of Madea should he want to. He just needs to look for much better material.
  41. Director Roger Gual presents little in the way of tantalizing culinary visuals, and that leaves the paper-thin characters as the main course.
  42. Though this latest entry has an OK sense of humor, moves swiftly enough and sports an effective opening sequence of racetrack destruction that puts its Fusion 3-D technology to good use, it mostly comes off as a particularly flimsy excuse to string together a bunch of gory killings.
  43. There's some technical dexterity in melding the various formats and capturing some impressive surf footage, but the shaggy dog nature of the story proves exhausting.
  44. The nonstop adversity lacks any real sense of danger. Or, for that matter, emotional punch. Why these two long-distance runners keep each other alive should be of front-and-center concern. Instead, My Way is mostly an endurance test.
  45. In its stylistically flailing stab at authenticity, CBGB ends up merely a mess of caricatures.
  46. It unflinchingly illuminates the toll exacted by the Iraq War in a raw, deeply personal and completely compelling manner.
    • 30 Metascore
    • 40 Critic Score
    Miller's flat, humorless yarn is set in Central City, a vacant metropolis whose only residents seem to be cops and crooks.
  47. Terrible acting, zero suspense, laughable logic and the promise of another one next year. How can we get this policy canceled?
  48. For what is essentially a screwball comedy, Over Her Dead Body is surprisingly uninspired, a frothy concept that offers little satisfaction in the way of execution.
    • 30 Metascore
    • 40 Critic Score
    Starts out as an agreeable, playfully off-color comedy of contemporary domestic manners and loses course to become a slack, tacky slapstick.
  49. The go-for-broke plot twists are daring, but because there's no sense of background to the characters, one gets the sense it's all being made up as Baigelman goes along.
  50. Chow is actually an apt metaphor for the movie - indescribably irritating and only in it for the money.
  51. Sluggishly paced and shot in the sort of grubby digital video that renders even the dewiest skin tone liverwurst gray, the film comes across as little more than a series of acting workshop exercises wrapped in a tissue of cliché.
  52. Maxwell has populated his film with paragons rather than people. Worse, they talk and talk and talk; this film is in danger of talking itself to death before the Union and the Confederacy are able to decimate each other.
  53. These guys have dumbed down a comic book.
  54. Has sufficient mayhem to please Diesel's action fans while allowing the star to reach out to family audiences.
  55. Works up a decent amount of solid, creep-show atmosphere in its first act before making some absurd decisions of its own in its second.
  56. Filmmaker Peter Rodger does a fairly comprehensive job of traversing the globe in 98 minutes, posing the age-old question, "What is God?"
  57. This is a film that almost is not there.
  58. Turns out to be a muddled limp biscuit of a movie, a vampire soap opera that doesn't make much sense even on its own terms.
  59. The filmmaker captures a certain exaggerated verisimilitude, but the comedy is surprisingly flat. The cast sells the occasional one-liner, but a Reynolds smirk can take you only so far.
  60. The script is short on details and insight, and when asked to comment on this condition — or the script's sketch of a culture on the cusp of the Internet revolution — the film, like its dirtbag protagonist, just shrugs.
  61. The movie straitjackets Keaton into a humorless, table-pounding role.
  62. A perfectly mediocre horror film. There is some hoot-inducing dialogue and cheesy effects, but the film's workmanlike narrative marches gamely forward, managing a handful of respectable scares along the way.
  63. Wilson's amiable vocal work keeps the predictability from becoming too grating.
  64. The interviews are carefully augmented with speeches by President Bush and other administration officials, plus footage from Iraq and Afghanistan, and powerful graphics detailing the depletion of the global oil supply.
  65. As for the movie itself, it is better than the original "Cats & Dogs." But so is a rabies shot.
  66. An all-stops-out rabble-rouser that hurls a broadside at America's medical insurance crisis.
    • 30 Metascore
    • 0 Critic Score
    The sun can't set too soon on this "Empire." [23 Oct 1995, Pg.F9]
  67. The new Adam Sandler comedy has all the charm of a home movie that does not star your own family, which means it's overly sentimental, filled with you-had-to-be-there moments, bad jokes and even worse camera angles.
  68. Mostly, though, the movie is something of a snooze, a gabby PG-13 horror flick whose most shocking image might be the bored look on Gary Oldman's face as he goes through the motions of playing the rabbi in charge of dispatching the film's damnable demon to somewhere over hell's rainbow.
  69. Always a welcome presence in any film, Howard, as a simple-minded hick, gives Blackwoods whatever humor and life it has.
  70. Only the innate sweetness of both its lead character and its base premise keeps you from wanting to slap Deuce Bigalow: Male Gigolo upside its mangy, empty head.
  71. An intimate, good-humored ethnic comedy like numerous others but cuts deeper than expected.
  72. Manages to capture enough honest moments to make it watchable, but it's never really funny enough to recommend to anyone who's outgrown short pants and kneepads.
  73. As the requisite love interest, Amy Smart gives the film's only professional performance, while co-star Eric Stoltz, as the story's villain, walks somnolent through the scenery with what seems to be barely suppressed mirth. Given the deeply unpleasant plot machinations and amateurish direction, the actor's amusement is understandable.
  74. This animated-live action hybrid is really more 3-D disaster than family comedy. Even Neil Patrick Harris, who has proved he can save just about any sinking ship, cannot make this boat float.
  75. Modestly entertaining film.
  76. When the movie isn't forcing its cuteness or R-rated humor, there's a frisson of genuine screwball to The Right Kind of Wrong.
  77. In the parlance of "The Player," Katrina Holden Bronson's Daltry Calhoun would be pitched as "Because of Winn-Dixie" meets "Napoleon Dynamite," and that is definitely not a good thing.
  78. There's certainly no moviegoing reanimation in director Stuart Beattie's adaptation of Kevin Grevioux's graphic novel.
  79. Certainly, Malkovich's portrayal of mob lieutenant Teddy Deserve (!) and his lacquered swagger represent the only thing here that you haven't seen a hundred times before.
  80. Youthful audiences won't be attracted to a love story between two 54-year-olds in the first place, and mature audiences will be turned off by the language, not necessarily out of prudishness, but out of its sheer crassness.
    • 30 Metascore
    • 50 Critic Score
    It almost seems like harder work somehow to get this many comedians together and then turn out a movie that is only so fitfully funny.
  81. A haphazard film about half as sophisticated as the average beer commercial.
    • 30 Metascore
    • 50 Critic Score
    There's a benign, peace-loving air about it all that forces you to accept and embrace the film's two central characters.
  82. 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.
  83. In comparison to Where the Heart Is, the Wal-Mart commercials seem like cinema verite.
  84. Zookeeper has the territory-marking scent of a franchise product from the Sandler-produced stable: pratfalls, caricature and aggression, which the likeable-enough James isn't as effective at getting laughs with as he is the more recessive, aw-shucks moments.

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