Los Angeles Times' Scores

For 10,041 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Lord of the Rings: The Return of the King
Lowest review score: 0 Formula 51
Score distribution:
10041 movie reviews
  1. Batman Returns, the most eagerly awaited and aggressively hyped film of the summer, is, for better and worse, very much the product of director Tim Burton's morose imagination. His dark, melancholy vision is undeniably something to see, but it is a claustrophobic conception, not an expansive one, oppressive rather than exhilarating, and it strangles almost all the enjoyment out of this movie without half trying.
  2. A film whose reach exceeds its grasp. Hugely ambitious and not without moments of success, this indulgent 2 hour and 40 minute epic ends up as unwieldy as its elongated title. It's a movie in love with itself, and few things are more fatal than that.
  3. The young filmmaker rarely digs beneath the harsh environment's many fraught surfaces. He simply lets his cameras be his guide.
  4. While often affecting and absorbing, the film proves intellectually and contextually light. This is especially true given a leisurely running time that could have easily accommodated more dimensional probing.
  5. Loving and well-intentioned though this film is, it never convinces you that its subject matter merits this kind of idealized, worshipful attention. [09 Oct 1992]
    • Los Angeles Times
  6. Ascher is too content to let repetition of experience take over his film.
  7. What should be a sexually and emotionally charged atmosphere instead ends up feeling like an intellectual exercise, with the actors attempting mightily to simulate chemistry that simply doesn't exist.
  8. Though comedy is an intrinsic part of the play, director Zaks has not found a way to translate it effectively on screen.
  9. Promising as it seems in theory, everything in this new version, like Lena Lamont's image in "Singin' In the Rain," falls apart as soon as the talking starts.
  10. All the imagination and effort (including 18 months of pre-production) that went into making the dinosaurs state-of-the-art exciting apparently left no time to make the people similarly believable or involving. In fact, when the big guys leave the screen, you'll be tempted to leave the theater with them. [11 June 1993, Calendar, p.F-1]
    • Los Angeles Times
  11. We have a right to yawn, but we don't, and Sarah Polley is the reason.
  12. Like an aging athlete who knows how to husband strength and camouflage weaknesses, it makes the most of what it does well and hopes you won't notice its limitations.
  13. Try as they might, the filmmakers never hit the outer reaches of imagination that both Kubrick and Bowie did. Which is not to say the film completely implodes into a black hole either.
  14. At times a beautiful wandering, at other times an admirable character study, but rarely a powerful whole.
  15. Despite all-around wonderful performances and excellent dialogue, the story never quite coheres narratively. Instead it moves toward a hopelessly bleak -- and I mean bleak -- climax that's more traumatic than dramatic.
  16. It's a movie for people who really dig Cronenberg's mulchy fixations-and probably for no one else. [27 Dec 1991]
    • Los Angeles Times
  17. A glum and unpleasant experience, caught between what it wants to do and how it has chosen to do it.
  18. Magician may not be its own rich experience, but like Workman's many breathlessly compiled odes to the history of movies, it'll certainly spur a meaty living room film festival.
    • 67 Metascore
    • 60 Critic Score
    A sincere, slow-paced drama about a Florida family dealing with schizophrenia, Canvas is never terribly convincing, despite being inspired by writer-director Joseph Greco's life growing up with a mentally ill mother.
  19. Though the film is well made, the all-aftermath approach to Meadowland leaves a lot — an establishing, enlightening character stability, for one thing — to be desired.
  20. Zilberman's minimalistic approach fits the idea of the film better than it fits the actual film. It leaves this melancholy mood piece with some beautiful moments, but unlike Beethoven's work, A Late Quartet ultimately feels unfinished.
  21. As it is, Mrs. Palfrey seems to suggest the Claremont is located somewhere in the Twilight Zone. Where are the televisions? Where are the chain stores? Where are the immigrants? I see the buildings, but where is England?
  22. Director Danny Boyle and screenwriter John Hodge (who is a physician!) keep the action spurting forward, but their approach is oblique. We seem to be catching the odds and ends of scenes; it's as if the filmmakers wanted to make a movie in which all the expected high points were skimped.
  23. At a certain point, though, the movie runs out of eccentricity capital and becomes just another contest documentary about determined participants — in this case, mostly obsessive young white men — and the well-worn narrative of defeat or accomplishment.
  24. Even though all the supporting elements of a superior film are here, the actual plot that everything is at the service of is disappointing. The texture of reality and the sheen of fine craft disguise this for a while, but not forever.
  25. The movie could have made its points — war is bad; music is the universal language — in half the time. But the harmonies are sweet, the acoustic picking impressive.
  26. Tom at the Farm is strange, idiosyncratic tale that straddles a fine line between homoerotic camp and spider-and-fly thriller.
  27. "Him" and "Her" are hardly groundbreaking cinema, but they are more rewarding than "Them."
  28. Not enough to save ivansxtc from, of all things, dullness.
  29. Kawalerowicz directs with briskness and vigor but cannot keep the first half of his film from slipping into tedium.

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