Los Angeles Times' Scores

For 9,751 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gravity
Lowest review score: 0 What Love Is
Score distribution:
9751 movie reviews
  1. Too much of the film prioritizes the DJ’s problematic personal life over what made him famous. AM’s fans should get a lot out of the doc, but casual music-lovers may wish Kerslake would just get back to the party.
  2. It's too bad that Bühler and Mariani take Kirk's tall tale at face value instead of doing their own investigative work and tracking down other characters for interviews.
  3. Even though as a whole Hello I Must Be Going lets us down in the second half, the pleasure of watching Lynskey and Abbott never diminishes.
  4. Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
  5. Like the relationship she has chosen to dissect, the film is promising, disappointing, touching or frustrating, depending on the moment.
  6. It's no surprise that Imamura has directed the best film in September 11, which is doubtless why the producer saved it for last.
  7. A mostly enjoyable wave of nostalgia.
  8. The film is at its best when it's just Brody stuck in the car.
  9. The audience's response to The Prophet is likely to be determined by their feelings for the original book rather than the eclectic, imaginative visuals.
  10. You can see the years of effort, the polish and precision that went into creating The Boxtrolls... But somehow it still doesn't add up to enough.
    • 61 Metascore
    • 50 Critic Score
    Zippy if forgettable, Meet the Robinsons keeps the tone mildly tongue-in-cheek and ends on a dutifully inspirational note.
  11. Where “The Raid” films used a thin story to efficiently showcase the rapid-fire lethality of silat, Headshot attempts to wrangle an emotional back story into the proceedings, which is a hard combination to stomach when the characters are brutally beating one another senseless.
  12. This is a chance to see Shakespeare with mud wrestling, something the Bard surely would have put in if only he'd thought of it himself… Though the actors have no major problems handling the language, the whole venture is listless when it should be sparkling. Shakespeare, even with mud wrestling, needn't be quite so much of a slog. [14 May 1999, Calendar, p.F-6]
    • Los Angeles Times
  13. Edmond does, on the surface, seem very much a contemporary tale of urban terror. Yet despite the best efforts of all concerned, what seemed explosive and provocative two decades ago now comes across as schematic and artificial.
  14. Two Lovers and a Bear is above all thrillingly cinematic, even when its elements of lived-in intensity and jokey fantasy refuse to coalesce.
  15. The Sense of an Ending, despite its polished construction and immaculate pedigree, doesn’t ultimately mean as much as it thinks it does.
  16. The film falls short of delivering the outrage and uplift that should have come easy for this true-life fight against justice denied. Unfortunately, that makes Conviction more a trial than a triumph.
  17. The actors give their characters a resonance beyond the symbolic, but the action doesn't quite transcend the stagy setup.
  18. Brick Lane has been whittled down from Monica Ali's expansive 2003 novel into a glossy but overly efficient drama that, like Nazneen's husband, is ultimately too ineffectual to make much of a dent.
  19. The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.
  20. Revenge may be sweet, but this is one "Monte Cristo" that leaves a sour taste.
  21. Movies about male friendship are often trivialized with the "buddy" tag, but this one resonates beyond that.
  22. With so many sight gags and nearly every living comic in the world making an appearance at some point, the entire operation, like Ron's ego, feels a bit bloated.
  23. Bad as the overall design remains, individual scenes keep sparking alive, partly because the dialogue, or delivery, seems fresh, and improvisatory; partly because Van Peebles, in his directorial debut, figures out unusual or athletic camera designs for every scene. It's obvious he has talent, equally obvious there's no way this story can work right, no matter how strenuous the staging.
  24. The feature spikes its lonesome mood with shots of dry humor, animated sequences and flashbacks — at times overplaying its hand, even as Emile Hirsch and Stephen Dorff wordlessly convey all that needs to be said.
  25. Lonergan has created a forceful yet extremely fitful film that teases with moments of brilliance only to frustrate in the end. Margaret is an unrealized dream, one you wish he'd gotten as right as his 2000 debut, "You Can Count on Me."
  26. Two things to keep in mind when considering Barrymore, starring Christopher Plummer as the great John B: It was brilliant as a one-man stage show; it was never a good candidate for film.
  27. Moves with the suffocating deliberateness of a river of molasses.
  28. This is a film without a center, a film whose young protagonist should have more texture, more of a compelling voice than she does. Through no real fault of the acting, young Astrid does not compel our attention the way she must if White Oleander is to succeed completely on the screen.
  29. Everything in Matchstick Men moves and looks right, from John Mathieson's cinematography to Tom Foden's production design, so it's puzzling that the film fizzles rather than fizzes.

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