Los Angeles Times' Scores

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For 16,520 reviews, this publication has graded:
  • 56% higher than the average critic
  • 6% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Sand Storm
Lowest review score: 0 Saw VI
Score distribution:
  1. Positive: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Come Back to Me
    Writer-director Paul Leyden does a decent job holding our interest as well as providing a few intriguing twists and reveals. But make no mistake, this is exceedingly far-fetched stuff.
  2. The Exorcist III
    The Exorcist III doesn't completely work but offers much more than countless, less ambitious films. [20 Aug 1990, p.F6]
    • Los Angeles Times
  3. War of the Buttons
    Though it's handled with little subtlety, the way the atmosphere of suspicion in Vichy France filters down to the kids is a smart slant on the material.
  4. Judgment Night
    Given the opportunities for gratuitous mayhem, director Stephen Hopkins, working from a script by Lewis Colick, is reasonably restrained. He’s aided by his cinematographer, Peter Levy, who gets some real variation out of what might have been undifferentiated darkness.
  5. City of Men
    Morelli uses plentiful flashbacks drawn from the earlier movie and television series that are at times intrusive to the narrative but eventually serve to deepen the relationship of Ace and Laranjinha.
  6. Dads
    Nothing here is especially revealing or deep; but the doc is pleasantly positive, and it does have something to say about how the expectations for dads today are higher than ever.
  7. Needful Things
    It has ideas as well as jolts, themes as well as special effects, characters as well as gore. But, as adapted by writer W. D. Richter and director Fraser Heston, these Things seem disappointingly diminished, squeezed and stuffed into a box too small.
  8. Mansfield Park
    It's an interesting take, and it always holds our interest, but it's finally too ham-fisted to be a completely winning one.
  9. Midway
    Midway is so square, so old-school and old-fashioned, it almost feels avant-garde. Ambiguity is not its goal, nor is nihilism its motivating philosophy. It aims to celebrate heroism, sacrifice, determination and grit, and if you don’t like that it really does not care.
  10. Pump
    As far as documentaries go, the film is exhaustively researched, interviewed and documented.
  11. Pitch Perfect
    What helps offset the predictable in this very predictable movie is a series of show-stopping numbers, so props to the folks who oversaw music and choreography. But the true saving grace is a few of the central players.
  12. Class Act
    It’s not a bad film. Brightly designed, slickly paced, it has its cargo of youth elements: laughs, sexual tease, action and music. But, halfway through, you can almost feel everyone relaxing, waiting for the next bit of spiritless slapstick or car-chase to carry them through to the end.
  13. Everything's Gone Green
    The film's tone is on the sitcom side, but its likable cast and zany subplots make it palatable.
  14. Shooting Fish
    Not as inspired or amusing as it might be, leans heavily on the considerable charm of its three young and attractive principals. Their charisma and the film's larky spirit, English locales and elaborate cons might be just enough to divert easily satisfied date-night audiences.
  15. American Socialist: The Life and Times of Eugene Victor Debs
    Though Debs is a legendary and influential character, the style of "American Socialist" fails to come to life.
  16. What's Eating Gilbert Grape
    The relationship between Gilbert and Arnie has "Of Mice and Men" vibes, but it strikes a responsive chord in a way that the rest of the film doesn't. Most of the credit for that goes to DiCaprio's performance.
  17. Ceremony
    If the scenario is unconvincing, debuting writer-director Max Winkler has a feel for the dynamics of this kind of ritualized yet informal social gathering, and his affection for his characters is clear.
  18. Heads of State
    It’s a painless watch, and, in its cheery, fantastic absurdity, something of a respite from the messier, crazier, more unbelievable world awaiting you once the credits have rolled.
  19. The Island
    The Island runs hot and cold, with clunky comic set-pieces alternating with moments of genuine wonder and surprise. But even at its most misbegotten, the movie’s always thoughtful, examining what we value — and why.
  20. The Etruscan Smile
    Cox is a wonder to watch, and seeing him in this gentle, vulnerable role, also spouting folk tales and seductions in ancient Scottish Gaelic, is a treat. If only the rest of this sappy story stood up to his talents.
  21. Last Cab to Darwin
    There’s much to admire about this alternately tough and tender film, including a fine turn by Caton, some striking outback scenery, and many resonant thoughts about living — and dying.
    • 51 Metascore
    • 60 Critic Score
    Of Unknown Origin
    Gives new meaning to the phrase rat race. [15 Aug 2003, p.22]
    • Los Angeles Times
  23. Under Siege
    Everything about the movie is overscaled, overbrutal, overbroad, full of holes. Yet there's something cheerful and wacky about it; it's a light-hearted blood bath.
  24. Kill Boksoon
    Some of that professional lingo (like calling contracts “shows” and first assignments “debuts”) makes the story function as a sly metaphor for the entertainment business; and Byun’s stylish action sequences juice up the film’s second half.
  25. Teen Spirit
    Writer-director Max Minghella’s U.K.-set fairy tale Teen Spirit — which takes Elle Fanning’s lonely immigrant adolescent from karaoke dreams to singing contest heights — is somewhere between feeling abbreviated and wearing out its welcome.
  26. Jeannette: The Childhood of Joan of Arc
    Dumont's imagination is fertile, but not exactly full when it runs close to two hours. What's always evident, however, is a punk-rock respect for Joan as a symbol of exuberant outrageousness.
  27. Your Highness
    To fully appreciate the extreme lowness of Your Highness, it's best to accept that this sometimes witless and sometimes winning comedy has absolutely no socially redeeming value.
  28. It's All Gone Pete Tong
    Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself.
    • 55 Metascore
    • 60 Critic Score
    The Black Scorpion
    Cheesy but entertaining 1957 thriller. [29 Oct 2003, p.E5]
    • Los Angeles Times
  30. Behind Enemy Lines
    As a director, Moore is like an energetic puppy who's all over you all at once. You admire his energy, and it's awfully hard to get angry at such high spirits, but you can't help but wish he'd calm down just a bit.
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