Los Angeles Times' Scores

For 9,592 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Guys
Lowest review score: 0 Being Human
Score distribution:
9592 movie reviews
  1. It's a gritty story made in the director's more elegiacal mode, a confusion of style and content that is not in the film's best interests.
  2. What's surprising about this traditional thriller, moderately successful but not completely satisfying, is exactly how genteel and unsurprising the execution turns out to be.
  3. The seriously out-of-control hard R dude is writer-director Nicholas Stoller, who apparently has major trust issues with his odd-couple stars, women and the audience. Did I forget anybody?
  4. With characters this alive, it's a pity that no one was able to build a more convincing film around them, instead of leaving everyone more or less out there on their own. [13 May 1994, p.1]
    • Los Angeles Times
  5. Samsara is as frustrating as it is beautiful, which is saying a lot because this is a film laced with exquisite images.
  6. The elder Makhmalbaf, who wrote and directed, puts many spins on this ethereal mood piece — it is by turns poetic, impressionistic, metaphorical and even a bit trippy — without satisfying such genre basics as structure, depth and resolution.
  7. In Tetro, nearly every time Coppola should have clung to intimacy, he opts for excess. Especially tedious are the meta excerpts from staged productions -- overcompensation trying to masquerade as illumination. Regrettable since there is such fine work being done in the smaller moments.
  8. Once We Are Still Here unsticks itself from hommage mode, it finds something cathartically funny inside the fearsome.
  9. It's a tortuous, unsatisfying movie, but it's not like any other film I've ever seen about an artist, and it has sequences of blinding intensity.
  10. Writer-director-star David Thorpe attempts to probe the whys and wherefores of what he calls the stereotypical "gay male voice," but he ends up crafting a naval-gazing self-portrait that's unflattering, inconclusive and, at times, a bit specious.
  11. Blessed with considerable virtues, including a clever concept, crackling filmmaking and a charismatic star, it ultimately squanders all of them, undone by an unfortunate lack of subtlety and restraint.
    • 65 Metascore
    • 60 Critic Score
    If Simon's hands-off approach precludes a thorough stock-taking of Dreier's misdeeds - numbers alone hardly tell the full story - the movie's subject obligingly avails himself of the ample rope.
  12. To be fair to Deathly Hallows, the filmmakers have tried hard to fill the proceedings with battles and chases and debilitating curses. Genuine filmmaking excitement, however, is harder to provide.
  13. For a film that has allegedly undergone extensive tinkering following its premiere at last year's Cannes Film Festival, Down in the Valley abounds in nagging loose ends and suffers overall from logy pacing.
  14. Despite its arresting visual style, its wave after wave of creative and hypnotic images, The Pillow Book, as its name hints, slowly but inexorably leads to sleep.
  15. It's a simple collection of sight gags and pratfalls that mines the overly familiar turf of awkward adolescence without bringing anything truly original to the experience.
  16. A lovingly rendered visual treat struggles with indifferent direction and torpid plot.
  17. The film offers disappointingly little insight into the music itself.
  18. The low energy pace and performances strive for naturalism but just don't achieve compelling tension or suspense.
  19. It won't be everybody's idea of entertainment but the heady documentary "Examined Life" provides a sound forum for an influential cross-section of professional thinkers to theorize on such weighty topics as life and death, politics, the environment and disabilities.
  20. Alas, the flick can't resist overheating. Paradoxically, when people finally do jump in their cars, curl their fists and grab their guns, we wish they'd retreat to the safety of their monitors.
    • 64 Metascore
    • 60 Critic Score
    Antisentimental to a fault.
  21. Although it starts off vaguely amusing, 8 Women grows progressively sour, curdled by the filmmakers' bad faith and lack of compassion. It isn't just the tone that's off; it's the point.
  22. Testin and Berg's work here is definitely promising, suggesting something better from both of them down the road.
  23. Though the leads lend charm and comic timing to the unpersuasive material, it would take a ground-up rewrite to make the fate of their characters matter.
  24. There is always a risk with having such a singular focus on a single theme; you might wake up to find the walls of that favored niche are closing in on you. And that is where we find Egoyan in Adoration.
    • 64 Metascore
    • 60 Critic Score
    The giddy near-brilliance of its central conceit is squandered by flat execution.
  25. Harron has said she was determined to be nonjudgmental about Page, to do justice to the woman's "mystery and ambiguity." In practice, however, that attitude plays as coldness, and Page, for all her remarkable zest, comes off as a not terribly interesting person we're given no incentive to become involved with.
  26. All too predictably, as if obeying some rule of genre, the director trades in his more involved ideas about alienation and voyeurism for an eruption of violence, then tags on some nonsense about marital fidelity.
  27. Niccol's script, which has the earnest simplicity of a freshman philosophy paper, is merely naked exploitation, a sci-fi snow job that projects a contemporary ethical question--would a perfect human be human?--into a solemn future where the worst-case scenario unfolds as conventional Hollywood melodrama.

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