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 3.3 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 Unfaithful
Score distribution:
639 movie reviews
  1. Were it not for the gravity of the setting, the movie could just as easily be a comedy -- with everybody play-acting and doors opening and shutting and the repercussions of lies multiplying geometrically -- as a drama.
  2. It's an interesting, often worthwhile, film, but humor isn't its strongest attribute.
  3. Delivers a thoughtful what-if for the heart as well as the mind.
    • 75 Metascore
    • 70 Critic Score
    With all its hip-hop and jive, Bulworth may seem new-style -- but actually it's proffering a populism that Frank Capra would have loved.
  4. Although frustratingly confusing -- often the viewer can't be sure who is on which side or why -- the film brims with physical grandeur, exquisite costumes, and a captivating performance by Blanchett.
  5. Manages to be both astoundingly derivative and reasonably entertaining at the same time.
  6. A remarkable movie with an unsatisfying ending, which is just the point.
    • New Times (L.A.)
  7. As the story plows toward its finale, the cultural dislocation problems become worse, until by the end they almost defeat the whole film.
  8. Hovers curiously short of its full potential for mirth and mayhem. Still, the movie is more fair than foul, and it succeeds well enough as a freakish experiment and mockery of all concerned.
    • New Times (L.A.)
    • 80 Metascore
    • 70 Critic Score
    One of the few American independent films right now that actually deserves its high praise.
  9. As Bundy, Michael Reilly Burke (Octopus 2: River of Fear) has just the right amount of charisma and menace. It's his performance that makes the movie, giving a relatively shallow script more depth and character nuances than likely existed on the page.
  10. Utilizing lots of complicated, well-choreographed steadicam shots, La Salle directs with confidence -- this may yet be his true calling.
    • New Times (L.A.)
  11. The beasts are employed to splendid metaphorical effect, which may be lost on viewers perceiving nothing but an action romp.
    • New Times (L.A.)
  12. Eureka is, quite extraordinarily, never dull.
  13. For all its mystery and its stylistic finesse, there is something vaguely plodding about The Sweet Hereafter.
  14. Gentle and gorgeous, honoring atmosphere over attitude.
  15. Solidly entertaining little film.
    • New Times (L.A.)
    • 60 Metascore
    • 70 Critic Score
    If Drew Barrymore weren't at the center holding it all together, the result could have been disastrous.
  16. Shot in the mean streets of a great and compelling city, here's a fascinating vision of societal upheaval that would likely awe De Sica himself.
  17. One expects more from writer-director Wes Anderson (and his co-scribbler, Owen Wilson) than such frivolous fun that bears no lingering effect.
  18. It's either the world's greatest infomercial for fame (and its omnipresent companion, notoriety) or the saddest eulogy of all.
  19. Stephen Earnhart's documentary lovingly covers the process -- veering between pathos, inspiration and mockery
  20. In the end, after the super-modified shovel racing, wild half-pipe action and integral employment of Black Sabbath's "Paranoid," there's a poignancy to the piece.
    • New Times (L.A.)
  21. We expect some depth and perspective from filmmakers, but even in talking about the movie Peralta sounds like an ex-high school quarterback who never got over the Big Game, or an old campus revolutionary who's never glimpsed the folly that went along with the fervor.
  22. Somewhere between setup and punch line, American Pie 2 starts feeling less like a sequel and more like the second episode of a TV series, a case of fine-tuning after the pilot's been picked up by the network.
  23. While much of the film is as scattershot as life itself, there are a few superb sequences involving lucid dreaming that really get down to business.
  24. As a document of rockin, youth rebellion, the film lodges perfectly between "American Graffiti" and "Trainspotting."
  25. Headey, Skarsgård and Rampling flesh these people out marvelously, bringing them fully to life. It's almost a pity: The more real they become, the less pleasant is the time we spend with them.
  26. It's inspiring and consistently exciting to the eye, mind and heart, as the plentiful formations -- global, but most of these English -- stimulate the imagination with their incredible beauty and complexity. Marvelous work all round.
  27. While 101 Reykjavik has already been compared to "High Fidelity," with which it shares the notion of an emotionally immature male narrating a tale of his own failings, it's probably closer to something like "Spanking the Monkey," which took the Oedipal angle even further.
    • New Times (L.A.)

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