New Times (L.A.)'s Scores

  • Movies
For 639 reviews, this publication has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Fast Times at Ridgemont High
Lowest review score: 0 Jeepers Creepers
Score distribution:
639 movie reviews
    • 39 Metascore
    • 30 Critic Score
    Marshall is the very definition of a hack; his one and only desire is to play to the lowest common denominator. This is the secret of his success: He aspires to mediocrity. With Runaway Bride, he has scored another bull's-eye.
  1. Too bad very few of these high jinks are actually funny -- the outtakes at the end of the film suggest a more relaxed ensemble vibe that the film proper was unable to retain.
    • 50 Metascore
    • 30 Critic Score
    What it offers at its shockingly sappy core is a familiar view of adolescent rebellion as a goofy but inevitable phase.
  2. If only director Walter Hill and his coscreenwriter David Giler had scribbled a punch line for all these punches, this rage-in-the-cage redux would be more than merely a limp showcase of machismo so passé as to embarrass your average Australopithecus.
    • New Times (L.A.)
  3. Turns out some folks just don't know Philip K. Dick about making movies.
  4. Reasonably well-made and all, but it's simply too familiar, too derivative and too inferior to its predecessors to have any reason to exist.
  5. If you have any desire to see this movie, you really should go rent "The Longest Yard" instead. It's available on DVD, and the '70s hairdos alone are worth the rental price.
  6. Final is one big hunh? barely worth the effort; just because it doesn't make any sense doesn't mean it's art.
  7. The urge to laugh is superceded by the urge to slap everybody and command them to stop embarrassing all of humanity.
  8. The actors labor long and hard to bring some semblance of reality to the proceedings, but the whole affair has a distinctly faux '50s feel to it.
  9. If you peel away the surface of this movie, one is left with not much at all.
  10. This movie is every bit the mess its title makes it sound.
  11. It's a bad sign when you're rooting for the film to hurry up and get to its subjects' deaths just so the documentary will be over, but it's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest.
  12. Ultimately, the film amounts to being lectured to by tech-geeks, if you're up for that sort of thing.
  13. Any cassette of "Millennium" would serve up better thrills and chills.
  14. Marsh's flat-footed recitation of Believe It or Not crimes grows tedious, and his condescension to present-day citizens of the town (implying they're as grotesque and doomed as ever) rings false.
  15. History buffs will find this film lacking, and it isn't really deep enough to educate the rest of us as thoroughly as it should.
  16. An amusing trifle. There are few comic staples less convincing or more timeworn than charming lunatics in love, and the only thing that lifts this film beyond TV-movie quality is Jones' performance.
  17. Of all the various low-budget documentaries chronicling the Star Wars phenomenon, Tariq Jalil's is certainly the most recent. There's not a whole lot else to say about it.
  18. Not just another disposable romantic comedy, but an ambitious, overreaching mess.
    • New Times (L.A.)
  19. Lurie's politics aside, it's astonishing that a man who once reviewed films keeps churning out movies full of cinema's most hollow clichés; indeed, he turns out stuff that's even more disjointed and improbable than the most mediocre fare.
  20. Plays like a knockoff of Michael Bay's already derivative and much more fun "Bad Boys," only with even less plot. It also recalls the worst qualities of John Singleton's mean-spirited "Shaft."
  21. Amid a rather routine plot and standard cop-show stylings -- just doesn't add up to much entertainment value.
  22. It's Tommy's job to clean the peep booths surrounding her, and after viewing this one, you'll feel like mopping up, too.
  23. The moviemakers have eliminated the finer points of the novel in favor of broad strokes. Very broad strokes.
  24. So desperate are the filmmakers to create a "hip" western that they try to cram it with action sequences that aren't very exciting.
  25. If it had anything that even approached the vaguest vicinity of a plot, The Wash might be a cool diversion for a Saturday afternoon at the mall.
  26. The fleeting moments of dry wit are too sparse to hold the movie together, so instead McAbee takes the kitchen-sink approach, hitting us with whatever he's got.
  27. The best way to watch it is with a loaded bong, the volume turned down and the Orb cranked up on your stereo.
  28. While the whole is diverting, the ending's utter repudiation of reality seems like pissing on the audience; -- we feel like we've been suckers for bothering to care about the characters at all.

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