Los Angeles Times' Scores

For 8,691 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Out of Sight
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
8691 movie reviews
  1. Often surprising and thought-provoking (the urge to euphemize is characterized as a drift away from reality), "****" is as funny and cathartic as the word it celebrates, and nearly as perversely shock-happy.
  2. For moviegoers who prefer cheeky wit, down-and-dirty mayhem and grown-up suspense in their air-conditioned escapism, The Prey deserves to light up the summer art house.
  3. The film is a bracingly romantic drama that's alive with a mature sense of passion and mystery.
  4. A martial arts action-adventure with wondrous special effects and witty production design, it effectively combines supernatural terror, a mythical slay-the-dragon, save-the-princess odyssey and even a spiritual quest for self-knowledge. [21 Aug 1995 Pg. F3]
    • Los Angeles Times
  5. This tale of nautical derring-do has several things going for it to counteract the inherent obviousness of the material. These include a director who knows his way around this kind of material, special effects work that makes the peril fearfully alive, and a pip of a true story of what is considered as daring a rescue mission as the U.S. Coast Guard ever attempted.
  6. The Twilight Saga: Eclipse is back with all of the lethal and loving bite it was meant to have: The kiss of the vampire is cooler, the werewolf is hotter, the battles are bigger and the choices are, as everyone with a pulse (and a few without) knows by now, life-changing.
  7. As in the best movie satires, there's a solid core of truth informing director Jonathan Parker's (Untitled), which takes on the New York art and music worlds in one smart and funny swoop.
  8. For all of Troche's skill and talent, The Safety of Objects (a splendid title) nevertheless tries to cover too much territory. In movies, as elsewhere, a little less sometimes can add up to a lot more.
  9. Anderson, his superb ensemble cast and inspired cinematographer Uta Briesewitz, appeal at once to the intellect and the emotions as they build suspense and tension mercilessly.
  10. This animated retelling of the familiar Old Testament story is playful, high-spirited and unmistakably amusing. It's nice to see that a sense of humor and a sense of values don't inevitably have to cancel each other out.
  11. The film unfolds as if it were a dream in which taboo subconscious urges surface symbolically as in a Dali painting, yet everything takes place in everyday settings.
  12. Good trippy fun.
  13. There's delight to be had from watching Burton conjure up one fantastical Edward-inspired scenario after another.
  14. Despite the snappy brilliance of the setup, Prime doesn't entirely deliver on its promise -- something about the way it ends feels like a cop-out, and the opportunities for humor aren't exploited quite as well as they could be.
  15. As a filmmaker, [Johnston] doesn't always trust his audience as much as he should, opting for overly insistent music and voice-over and withholding information in key areas. But he knew a good story when he saw one, and we can all be grateful for that.
  16. Tantalizingly structured to intrigue us right from the start.
  17. ZigZag is also richly cinematic. Los Angeles locales have been chosen with a keen eye to freshness and pungent atmosphere, and they have been masterfully photographed by James L. Carter with a notably effective play of dark and light.
  18. As tasty and nourishing as one of Martin's finest meals.
  19. An excellent example of its genre, with Pennebaker capturing the excitement of what was a very special, emotion-charged occasion.
  20. Not the place to go look for nuanced, deeply emotional performances. The acting is inevitably on the formal side, suitable for the pageant this film is. But don't let that dissuade you. They won't be making another film like this any time soon, and the chance to see all those elephants is not one you get every day.
  21. Thirty years of gestation have produced a film of great beauty with unfulfilled promise - a disappointment, but with much to recommend and be glad about.
  22. The film has a sarcastic tone, like that of a friend who you never can tell is kidding or not, which eventually breaks through into a place of unexpected sincerity. Meeting this odd, idiosyncratic "Somebody" is a rare delight.
  23. Directed by "Kick-Ass" action specialist Matthew Vaughn with slightly more vigor than necessary and a shade less restraint than needed, it's a bit too too to be "brilliant," as the Brits say. But it's not half bad either.
  24. The film's formula of following these four from three weeks before the start of things right through the competition is a tried and true one that can't help but have success.
  25. Depardieu and MacDowell seem to share an uncommon honesty and generosity of spirit. So as the sexual tension between their characters grows, their scenes together are charmingly open and uncompetitive. The sense is that if these two ever become lovers, it will be because they have first become friends. On that startling note, in today's climate of explicit, loveless love, the film floats to its heady conclusion. [11 Jan 1991, p.6]
    • Los Angeles Times
  26. A raucous and refreshing new take on the Christmas movie.
  27. A compelling entertainment because of Hill and co-writer David Giler's adroit cinematic storytelling skills and the powerful presence of Wesley Snipes and Ving Rhames, whose talent and intelligence are as impressive as their physiques.
  28. The non-fighting parts of Kiss of the Dragon are, despite the presence of co-star Bridget Fonda, completely non-compelling. It's a proud convention in films like this for fans to mark time during exposition, waiting patiently for the action to start up again, and Kiss is very much in that tradition.
  29. Unusual in its ability to mix bodily functions humor with a sincere and unlooked-for sense of decency.
  30. The result is an intensely involving entertainment that can be enjoyed by viewers who scarcely know how their own cars work.

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