Los Angeles Times' Scores

For 10,214 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Sure Thing
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
10214 movie reviews
  1. Unfortunately, the new film does not live up to the low-key charm of the original. It's essentially a long-form public service announcement extolling the virtues of animal adoption and decrying the scourge of unfettered dog breeding.
  2. It might even have made a good film, but it hasn't. In the hands of stars in denial about their stardom and a director who can't be bothered to take things seriously, it has come out implausible and unsatisfying, a comic thriller that is not especially funny or thrilling.
  3. More than anything, The Grudge suggests that it's time for Shimizu to move on.
  4. The film, narrated by comedian Christina Pazsitzky, raises some interesting observations about the climate on many of today’s college campuses, where the former havens for free speech (it’s noted that Bruce lectured at UCLA in 1966) have become especially vulnerable in regard to violated comfort zones.
  5. If you're a "Terminator" fan, though, "Salvation" is mostly worth it. The machines are mindless, yes, but there are enough pyrotechnics and heavy artillery to feel like Armageddon squared. And when the story starts to crumble around Bale, Worthington is there to pick up the pieces.
  6. In Continental Drift, the filmmakers have gone a little crazy too, but in a good way. Smack dab in the middle of things there's a big Broadway-style number involving pirates.
  7. It's a strange feeling to see the summer's most promising premise self-destruct into something bizarre and unsatisfying, but that is the Hancock experience.
  8. Subtly acted, with Aridjis showing remarkable trust in her performers, The Favor is that rare film that at every turn exhibits good taste and a sense of restraint.
  9. Fitfully enjoyable, the film's leaden pacing and drawn-out running time make the twists of the plot less hairpin turns and more like bends in a river - moving so slowly you can see everything coming from the distance.
  10. In engaging but not always satisfying fashion, Jody Shapiro's film reveals the man behind the logo to be a taciturn, plain-living refugee from city life and an unlikely globe-trotting corporate spokesman.
  11. Talky, relentlessly affirming and as predictable as a paint-by-number.
  12. The result is not only one of Zeffirelli's sumptuous productions but also a film that celebrates the sacredness of artistic integrity that to Zeffirelli Callas embodied fully.
  13. Female sexuality has evolved into pure evil here with Von Trier looking ever so much like the Marquis de Sade of filmmaking.
  14. A typically energetic urban action melodrama, offering car chases, beatings, murders, a dog mauling, attempted arson, frequent double-crosses and pitched street battles worthy of Fallouja.
  15. Language this lethal has all but disappeared from the movies, and it's an unmitigated pleasure to observe Caine and Law attack it with such ferocity. Sleuth is nasty fun.
  16. Instead of breathing life into cartoonist Berkeley Breathed's cheeky kids morality tale, the movie - with all its 3-D motion capture animation flash - flatlines.
  17. For all the time we spend watching Justin and Nicole negotiate their needs, we have no idea who these people are.
  18. Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]
    • Los Angeles Times
  19. Two movies in one, but it's no bargain. A charming romantic comedy... transforms awkwardly into a hedonistic crime thriller, with the two genres violently butting heads.
  20. Though amusing from moment to moment, is erratic, unfocused and uncertain where it's going.
  21. A fast and clever con-gone-wrong comedy that reflects the writer-director's characteristic blend of the intellectual and the criminal. But it lacks anyone to care about--even the repellent characters are less than fascinating--and the result is a crisply made movie that is no more than mildly amusing.
  22. Leaves us with a heightened appreciation of the bold and personal films made by a number of filmmakers of the former Yugoslavia.
  23. 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."
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. Pirates relies more on classical and pop culture-driven references to deliver its worthwhile message.

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