Los Angeles Times' Scores

For 10,137 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Lowest review score: 0 Carpool
Score distribution:
10137 movie reviews
  1. Leaves us with a heightened appreciation of the bold and personal films made by a number of filmmakers of the former Yugoslavia.
  2. For the most part, the florid flourishes are so lightly played by Owen and Binoche, screenwriter Gerald Di Pego's melodrama can almost be forgiven.
    • 49 Metascore
    • 40 Critic Score
    The misfortune, of Michael Stürminger's low-boil melodrama is that it's entirely too familiar. Underneath the movie's cool surface beats the heart of a 1940s tear-jerker. It's a subzero "Stella Dallas."
  3. There isn't much of anything here that hasn't been done elsewhere, but as the film rolls merrily along it reminds why wedding comedies are such ripe targets.
  4. This "Tristan" has its slightly silly moments, but rather like those fondly remembered epics of Hollywood past, its energy and entertainment value carry the day.
  5. The film's tone works overtime at mythologizing tawdry incidents into some ultimate epic about the lost innocence of youth. Gilded trash is more like it.
  6. The mix of callous humor and romantic doom doesn't always hold up, but in its best moments, The Wannabe finds real spikiness in the pitfalls of anti-hero worship.
  7. The film is a fascinating and sometimes terrifying introduction to ayahuasca. Surreal sequences mimicking the hallucinogenic experiences during the ceremonies are unnecessary and pale in comparison to the real transformation we witness.
  8. Pirates relies more on classical and pop culture-driven references to deliver its worthwhile message.
  9. For a disorganized film that has trouble deciding what it's about, When Comedy Went to School can be a lot of fun.
  10. Despite the creakiness of the vehicle, there are some genuinely funny moments and observations.
  11. It shouldn't be surprising, but some of these directors are more interesting than their work. French director Breillat, never a personal favorite, is an absolutely hypnotic speaker who holds the screen the way her films rarely have.
  12. With Cooties, what starts as recess fades all too rapidly into movie detention.
  13. Chevy Chase has not been on a roll lately, and to say that in National Lampoon's Christmas Vacation he's funnier than in his last six movies combined may sound like high praise, until you remember those six movies. "Caddyshack II" alone almost throws them into the "minus" laugh range. But here, he does what he does best: flat-out slapstick and subversive tear-downs of his own smooth image. This sweet, goofball, manic middle-class daddy brings out his sharpest reflexes and he gets good support from D'Angelo, the bulging-eyed slob-in-excelsis Quaid, and from Questel and Hickey as his dottiest relations.
  14. A disappointment. A good-faith attempt has been made to duplicate the original elements, but the mix is wrong, bearings have been lost, the balance is off. It was attitude that made "Men in Black" special, a particular kind of cool insouciance that has proved as impossible to duplicate as it was irresistible to experience.
  15. A gracious, eloquent film that by its end offers a ray of hope to the refugees able to look ahead and resist living in a past forever lost.
  16. In directing The Monkey's Mask from Annie Kennedy's adaptation of Dorothy Porter's novel-in-poetry, Samantha Lang displays considerable style and assurance, with Porter and McGillis giving beautifully nuanced portrayals.
  17. Sails along on a slipstream of pleasant scenery, amusing incident and the boundless charms of its appealing leading men, Jackie Chan and Steve Coogan: It's an unexpectedly buoyant spectacular.
    • 49 Metascore
    • 80 Critic Score
    And though School Daze isn't as successful as the more modestly scaled "She's Gotta Have It," in the end, it may be even more rewarding and promising. The movie's seemingly twisted view of higher education suggests a straight eye, a cool mind, a steady heart--and a great aim.
  18. Scotsman not only lacks vision, a true sense of how to mesh Obree's sporting triumphs and personal setbacks, but it also lacks passion. What it needs, as strange and tacky as it may sound, is a bit more madness.
  19. What Meyers and Shyer have accomplished is to create a pleasant, sentimental domestic comedy out of a family that really has no problems to overcome, not an easy feat.
  20. If forewarned is forearmed, Seifert's movie might one day prove quite prescient.
  21. The noir-ish contours of writer-director Ana Piterbarg's story yield a frustratingly dissipated movie, one with few storytelling pleasures and an overabundance of forced mood.
  22. A few scenes are worth the price of admission for their inspired camp alone; Shaw happens to be in two of them.
  23. The film constantly teeters on the fulcrum of its own treacly good intentions and simplistic parable-like storytelling, and the extent that it stays balanced is largely thanks to its agile cast.
  24. Because Senesh died so young, it's hard to fill out a film of nearly 90 minutes that claims her as the subject, so director Grossman has resorted to using newsreel footage as well as re-creations, which, though discreet, add nothing special to the proceedings.
  25. Writer-director Eran Creevy shows himself to be well versed in the mythic sweep of Christopher Nolan's and Michael Mann's crime sagas, if not their intelligence with storytelling.
  26. Jamie Marks Is Dead admirably refuses to hew to conventional horror tropes and is acted with integrity by its young performers, but the film nonetheless has a nagging pulse problem.
  27. Utterly dull thriller Drone tries to raise ethical and moral questions about modern warfare, but the audience can only dwell on the illogical plot and unsympathetic characters — if they can engage at all.
  28. It's an acceptable film, but the story of family ties and forgiveness simply cannot manage the emotional connections it is desperate for.

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