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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Road to Perdition
Lowest review score: 0 Mr. Deeds
Score distribution:
639 movie reviews
  1. For three jerks bitching in a box, Tape makes the most of its minimalism. At its best, it's Betrayal for the Breakfast Club set.
  2. Audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching, but otherwise the production is suitably elegant, a fine retreat from summer cinema overkill.
  3. Isn't as funny as it should be. Cedric's speech impediment only goes so far -- he's actually funnier in Serving Sara, without having to rely on a big wig to do his acting for him.
    • New Times (L.A.)
  4. Like all films constructed out of pop-culture effluvia, Zoolander runs the risk of being so last month; this is a movie that treats Fabio as the ultimate punch line and regards David Bowie as the prince of style.
  5. A teen-anxiety movie that leaves no doubt where it stands on "family values" and moral absolutes: It approves. The shock troops of the Cinema Without Limits army are unlikely to buy many tickets, but those who do will probably see the thing as sanctimonious pabulum -- even for its target audience of adolescents.
    • New Times (L.A.)
  6. What's somewhat ironic about Bread and Roses is that it's bound to be more interesting to people outside of L.A. than in it.
    • 81 Metascore
    • 60 Critic Score
    It's Mamet without the rich slanginess and heat of which he's capable at his best.
  7. If you're not in the mood for explicit discussions (and occasional depictions) of the sex life of French adolescents, close your eyes.
  8. It's composed of really long scenes that are mostly dialogue, with transition action imagined or implied only. Couldn't we go outside for at least one scene?
    • New Times (L.A.)
  9. It's war porn, a movie that revels in the carnage.
  10. It's a feel-good movie that happens to have a lot of feel-bad in it. The gratuitous violence sucks, and the pat conclusion prompts one to shout don't believe the hope!.
  11. Since the movie arrives and succeeds as entertaining B-movie fare, we may as well appreciate all of its howls, beastly or unintentional.
  12. Sometimes it bounces along, other times it feels forced. Kids and hardcore fans will love it regardless, and those who don't will nonetheless be talking about it for the next three years.
    • New Times (L.A.)
  13. That's not to say Simone doesn't offer a good time. Shove aside its self-righteous agenda and it's a deft kick, a light comedy whenever it's not trying to play heavy. And it's bolstered by Al Pacino in a lively performance.
    • New Times (L.A.)
  14. The movie gets bogged down in dull dialogue, despite some truly impressive special effects and a hilariously silly CG devil who closely resembles his counterpart from the PlayStation game Tekken 2.
  15. The film takes an incredibly wrong turn when it shifts to the courtroom trial -- It all but kills any goodwill Silberling has engendered up to this point.
    • New Times (L.A.)
  16. This innocuous, frothy fairy tale isn't so off-putting as you might imagine, thanks in large part to Andrews' ageless charm.
  17. Most of it is incredibly, gleefully crude and tasteless, but it is also good-natured and harmless, and there's a pretty good chance you'll find yourself laughing.
  18. Wacky chaos ensues, as the film veers toward a subplot about industrial espionage, but director Clare Kilner's debut is never as daft as it should have been.
  19. Filled with sharp observations and interesting, often subtle, bits of visual trickery, much of it evoking the technique of Douglas Sirk's American domestic melodramas. Still, the very simple story seems too simple and the working out of the plot almost arbitrary.
  20. Hu has crafted a charming and modest movie.
  21. Damon looks like a kid lost in the wrong neighborhood, and his acting manners underscore that impression--everything is a bit too fine, too neat...An intermittently interesting, intermittently foolish film.
  22. It's all a bit silly and predictable, but maybe that's the point.
  23. Jeffrey Greeley's loving photography of the wintry landscapes is beautiful, but lead actor Jacob Lee Hedman is nowhere near as charismatic as he needs to be for a film with this few characters.
  24. Silva is a polished and sophisticated director who brings a surprisingly light touch to much of this apparently fact-based story.
  25. Ultimately, Hart's War can't decide what it is: treatise on racism, escape (and escapist) thriller or murder mystery. So it sits there -- and we sit there with it, waiting and waiting. And waiting.
  26. This is mostly well-constructed fluff, which is all it seems intended to be.
    • New Times (L.A.)
  27. Their (Tunney and Nelson) interplay is what saves the movie, and possibly should have been expanded upon to the exclusion of the other plot points.
    • New Times (L.A.)
  28. Highbrow self-appointed guardians of culture need not apply, but those who loved "Cool as Ice" have at last found a worthy follow-up.
  29. While some of Max's pranks are exhilarating and funny -- the movie takes too long setting things up and, once the pranks are over, dawdles to its inevitable conclusion.

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