Los Angeles Times' Scores

For 10,464 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 From Here to Eternity (re-release)
Lowest review score: 0 Dead Silence
Score distribution:
10464 movie reviews
  1. Not just any kind of trash, it's high-art trash, a kind of "When Tutu Goes Psycho" that so prizes hysteria over sanity that it's worth your life to tell when its characters are hallucinating and when they're not.
  2. What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
  3. Writer-director Steers has chosen to overload "Igby" with phony archness and forced black humor, making it not the place to look for satisfying acting.
  4. It’s a film that dares you to give it a bad review, simply so it can turn around and call you a bully who picks on the people who try. It invites you to giggle at Florence’s horrible singing and then promptly scolds you for laughing, creating a contradiction that goes unreconciled.
  5. Soon becomes a sadistic experience in its own right. Experiencing this pretentious wallow -- overwritten, under-thought and overdone -- is a very sophisticated form of torture.
  6. Since the rally ultimately proved ineffectual, the film could at the least serve as a sobering postmortem on where it fell short. But filmmaker Amir Amirani instead gives protesters a figurative pat on the back by insinuating that they helped inspire the Egyptian revolution some eight years later.
  7. Aside from preserving these folks for a presumably grateful posterity and convincingly depicting Austin as an open-air lunatic asylum, Slacker does not offer much to anyone who likes to stay awake.
  8. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  9. There are two films at war in director Spike Lee's newest feature 25th Hour, one uninteresting, the other an epic of near-tragic miscalculation.
  10. XXY
    The genitally ambiguous as well as transsexuals and gay people deserve more than XXY's good intentions.
  11. George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  12. Without complexity to its characters, with little balance and without a hint of the personal, family or community issues involved, Colors becomes a movie that never has to ask "Why?"--a vivid, noisy shell of a film filled with eager young actors rattling along on the surface of a lethally important subject. [15 Apr 1988]
    • Los Angeles Times
  13. What's most troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the increasing realization that it actually thinks it's saying something of significance.
  14. Robot Stories isn't any good. I don't say this lightly. There's no pleasure in giving new directors bad reviews and it's especially unpleasant when what's wrong with their work isn't a clumsy performance or two, a sagging second act or a repugnant worldview, but a near-total absence of filmmaking talent.
  15. Alexander Sokurov's Faust is a grueling side show of a film, a morbid, mightily uninvolving piece.
  16. The only thing about The Naked Gun that won't make you laugh is the film itself...To mix a metaphor in appropriate style, the filmmakers have really beaten a dead horse into the ground with this one.
  17. A paint-by-numbers version of an artist's life, Basquiat is amusing for all the wrong reasons, especially at those horrible moments when you realize you're supposed to be taking it seriously.
  18. The film is, perhaps, intended as a deadpan burlesque of race and class and beauty ideals...but it plays more as a boorish, overextended punch line.
  19. Stillborn, pointless piece of work.
  20. Turns out to be a tedious and under-inspired comedy.
  21. Unfortunately, directors Rachel Lears and Robin Blotnick have squandered a worthy subject.
  22. This noisy retread, a secondhand facsimile of a movie, is, except for the headache its boisterous sound level leaves you with, as forgettable as a bad day in the Disneyland parking lot.
  23. Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  24. So exasperating in its contradictions, so frustrating in its fakery, so deeply irritating in its pretensions, it's frankly hard to know where to begin to dissect it.
  25. It would be lying not to say that some of the moviemakers here aren't working at the top of their craft, or that the movie won't reach audiences. On its own terms, Kindergarten Cop is nearly fool-proof: the last word in glib, shallow, soulless, spuriously warm-hearted commercialism. [21 Dec 1990, p.1]
    • Los Angeles Times
  26. Resisting the temptation to invest its characters and storytelling with any particularly winsome, distinctive qualities, the film quickly devolves into an infernally busy and overextended chase sequence crammed with desperately unfunny comic patter and noisy, pointless action.
    • 61 Metascore
    • 30 Critic Score
    Equally as perplexing as its lack of perspective is the film's overall shortage of information.
  27. Director Mikael Hafström's dramatic sense is so pedestrian and snail's-pace obvious -- since this 2003 feature, he's made the leap to Hollywood with the plodding thriller "Derailed" -- one starts biding time for the inevitable retributive smackdown that will save our hero from the gantlet of draggy high-mindedness about counteracting fascism with stony resolve.
  28. For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  29. You can leave Days of Thunder feeling positively chafed. That clanking noise, however, comes from Robert Towne's tinny story and its malnourished characters. [27 Jun 1990, p.1]
    • Los Angeles Times

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