Los Angeles Times' Scores

For 10,607 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Work
Lowest review score: 0 Formula 51
Score distribution:
10607 movie reviews
  1. For a relentlessly violent and exploitive noir knockoff, Sin City is mystifyingly flat and static - cartoonish, even, if you want to get tautological about it.
  2. Young's almost mystical musicianship is what saves it.
  3. A thoughtful but uneven film.
  4. Comes off as convincing but never compelling. There's a ponderous quality to it, as if it's forever clearing its throat to say something of value that doesn't quite get articulated.
  5. High Art is, unfortunately, full of itself and its artistic pretensions.
  6. The happenstance plotting and over-reliance on violence as a plot motor dissipate the film's energy by the end.
  7. Though its elusive character is undoubtedly part of its strength, Dogtooth ends up feeling somehow like a dodge and a sidestep. As a film, it's pure and singular, but it's not quite fully formed enough to be what one could call truly visionary.
  8. Packs a lot of good information, witty visual aids and expert testimonials into its fast 96 minutes, and all the bad eating certainly makes for compelling if at times repugnant viewing. But the film ends up too short and, as a consequence, frustratingly glib.
  9. Lonely, bitter, insecure and clearly unstable, the women are meant to level the emotional playing field and add depth to what is, at heart, a story about the exploitation of poor nations by rich and powerful ones. But they wind up being too bitter and unstable to elicit much sympathy.
  10. Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
  11. The relationship between Gilbert and Arnie has "Of Mice and Men" vibes, but it strikes a responsive chord in a way that the rest of the film doesn't. Most of the credit for that goes to DiCaprio's performance.
  12. There are not one, but two wars raging inside this adaptation: one between the North and the South, and another, more calamitous war between art and middlebrow entertainment.
  13. Foley's family members, colleagues and prison cell mates vividly recount his 2011 imprisonment in Libya, his difficulty reacclimating to home life in sleepy New England after his release, before leaving again for Syria and enduring imprisonment by ISIS.
  14. An excess of levity can quickly become its own kind of leadenness, and for long stretches between its genuinely amusing gags and set pieces, Thor: Ragnarok, credited to the screenwriting trio of Eric Pearson, Craig Kyle and Christopher Yost, is a bit too taken with its own breezy irreverence to realize when it’s time to rein it in.
  15. It's excusable for a sheltered novice filmmaker to be out of touch like this, but not for a veteran.
  16. A measured, decorous, at times pat film that manages to be quietly moving because it touches on something real.
  17. Unfortunately, director Michael Lehmann's point of view is swivel-mounted: He doesn't have the courage of his cynicism. [31 Mar 1989]
    • Los Angeles Times
  18. Instead of pushing for tough answers to difficult questions, this film is content to mythologize Thompson's bad-boy behavior, celebrating things like his willingness to drink a bottle of bourbon a day and go hunting with a submachine gun.
  19. In bringing Heller's book to the screen, director Richard Eyre ("Iris," "Stage Beauty") and screenwriter Patrick Marber ("Closer") have tossed the book's subtlety out the window, along with its psychological complexity, its running theme of self-deception and its dark, extra-wry sense of humor.
  20. Brief enough, clocking in at 83 minutes, but its story is too predictable to make an impact even in such a short space. Unlike "Toy Story," the dialogue here, written by Todd Alcott and Chris & Paul Weitz, is pro forma all the way.
  21. Life, however, cannot be lived entirely on stage, and once the characters have to take off their thongs and return to their real lives, the film goes nowhere that is either interesting, involving or surprising.
  22. Alternately riveting and wearying, up-to-the-minute relevant as well as self-mythologizingly self-indulgent — as much of a heroic origins story as anything out of the Marvel factory — Straight Outta Compton ends up juggling more story lines and moods than it can handle.
  23. Diverting but rarely transporting, unpredictable yet strangely overdetermined, Garrone's film never conjures the sustained, enveloping magic promised by its extravagant design and its agreeably unhinged story sense.
  24. By the end, Ross’ initially disarming fusion of cleverness and whimsy has curdled into a dispiritingly familiar mix of sentimentality and self-satisfaction.
  25. Though this story couldn't mean more to Jolie, she hasn't been able to make it mean as much to us. Scrupulous and perhaps constrained at the thought of overdoing things, Jolie has allowed the enormity of the story to get the best of her, creating a film that is more disturbing than moving.
  26. The laughs come easily, the screams not so much. It's as if the filmmakers got so wrapped up in the satire they forgot to include the intense sensation of rising dread that creates all the thrills and chills that are part of the attraction.
  27. The film has been hailed as something of a literary thriller; it's not. The stultifying pace and Moskowitz's filmmaking laziness are forgivable, but it's exasperating and indicative of our low expectations for the documentary form that a film that taps the likes of Leslie Fiedler could be so devoid of ideas. Reading is fundamental; so is thinking.
  28. Leigh piles up woe wider and higher than ever before. That he has done so with his usual skill, perception and alertness to relieving gestures of human tenderness and care does not keep All or Nothing from being a pretty glum, overly familiar business.
  29. Du Welz, despite a strong assist from cinematographer Manuel Dacosse, rarely musters the requisite tension or propulsion to immerse us fully in the story's wickedly wild ride.
  30. But bearing witness can be a complex thing and in its concern to illuminate Sarajevo is prone to overkill, to trying too hard to squeeze in every troubling wartime incident.

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