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 The Producers (re-release)
Lowest review score: 0 Slackers
Score distribution:
639 movie reviews
  1. Full of fresh and unexpected observations about the cross-culturally complex lives of second-generation Indians living in the U.S.
  2. There's an eerie coolness to this film that's quite unsettling and un-Oshima-like. Rather lengthy, it requires patience. But adventurous moviegoers aren't likely to mind.
  3. Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.
  4. Everything leading up to the finale is funny and often heartfelt.
  5. We so often hear the lament that Hollywood films don't have characters we can care about that it's a real pleasure to note that all the people in this one feel fully developed. It'd be nice if there were more of a plot to go along with them.
    • New Times (L.A.)
  6. There's enough substance here to make Crazy/Beautiful more than worthwhile for its target audience, and certainly more useful than the standard teen crapfests.
  7. This is not Tsui's best film by a substantial margin, but it's immense fun.
  8. Dominik's stylistic choices are savvy, but what really makes the movie work is Bana's extraordinary performance as Chopper.
  9. The highpoint of the film, acting-wise, comes from Bernadette Peters.
  10. Though the film came out a year ago in the U.K., the timing here is unfortunate, and one has to wish that, like so many bigger productions, Liam could have migrated to a more-distant release date.
  11. Chuck Russell doesn't make masterpieces -- he makes good B movies ("The Mask," "The Blob"), and The Scorpion King more than ably meets those standards.
  12. This film is just too damn weird to pass up, and for the blacklight crowd, way cheaper (and better) than Pink Floyd tickets.
    • New Times (L.A.)
  13. For most people, four hours pushes the outer comfort limits for theatrical viewing. My Voyage to Italy is well worth the time, but bringing along a thermos of espresso isn't a bad idea either.
  14. Can barely move during its final half hour, which is a shame, because until then it's a frenetic, engaging ride -- a huge grin, not unlike the one Tom Cruise now hides behind his grownup's braces.
    • New Times (L.A.)
  15. The movie may be intellectually sophomoric, dramatically adolescent and morally vacuous, but it's good fun while it lasts.
  16. As a whole it's vibrant, witty and richly detailed.
  17. While there's nothing original in Rush Hour, it runs through its well-worn paces with both wit and excitement.
  18. All manner of superstitions, religious conspiracies and insurrections are aired, resulting less in awe than bewilderment. However, taken as an exciting and expansive cultural bridge, the film is a roaring success.
  19. For all its brilliantly brazen sequences and energetic supporting players (as the young lovers' mothers, Brenda Blethyn and Lisa Banes are terrific), Pumpkin's abrupt shifts of mood and needlessly complicated ending(s) render its latter third a bit of a chore.
    • New Times (L.A.)
  20. A piquant entertainment and zeitgeist reflector designed to embolden little thrashettes.
    • New Times (L.A.)
  21. The nuances of the performances -- in dialogue and dance -- and the rich, organic feel of the locations mark Amari as a director of significant promise.
  22. The movie will leave you smiling forgetfully on the way out, and Myers will have done his job.
    • New Times (L.A.)
  23. Hardball is not as bad as it sounds, and at its best it's charming.
  24. It's hard not to warm to a film that features William Shatner (playing himself) looking at De Niro's character and complaining about what a lousy actor he is.
  25. Overcomes its visual hideousness with a sharp script and strong performances.
    • New Times (L.A.)
  26. The film belongs to Jordan Brower, whose every appearance breaks one's heart, and makes some otherwise familiar material come alive.
  27. Shot in black and white by the renowned Raoul Coutard, and with a score by Michel Legrand, the film represents an idealized view of reality that will strike some viewers (including this one) as overly sentimental.
  28. The film still delivers the goods, in part because of Eastwood's iconic presence and in part because of Daniels' scene-stealing work in what could have been a hokey role.
    • New Times (L.A.)
  29. It is a moving and solidly entertaining comedy/drama that should bolster director and co-writer Juan José Campanella's reputation in the United States.
  30. Beautifully shot and finely acted movie.

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