Los Angeles Times' Scores

For 16,550 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 2.2 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:
16550 movie reviews
  1. It's clear early on, however, that this is standard concert-film fare geared to the faithful.
  2. The film is studded with nifty supporting portrayals, with Burns and Ford (in his film debut) especially notable. But it's the rich presence and easy authority of Robinson that brings both a gravitas and a blithe spirit to Brother to Brother.
  3. A tiresome addiction drama.
  4. Moves deftly from a wry and affectionate father-son bonding comedy to wrenching drama.
  5. In the original, extended, unrepentant bad behavior results in bad consequences for the protagonist. In the remake, it gets the character some life lessons and a personal growth spurt.
  6. Bird has created the unprecedented film that is not just a grand feature-length cartoon but a grand feature, period, a piece of animation that's involving across a spectrum of comedy, action, even drama.
  7. As fast and energetic as it is funny.
  8. Very strong stuff, and Sistach has inspired such young actors as Ayala and Gutiérrez to give sustained and harrowing portrayals.
  9. Its charms sneak up on you because of the nuanced performances of Burton, Bauche and particularly Salazar.
  10. By turns heartbreaking, amusing and disturbing, the film features people from different regions, economic classes and religions, recounting stories that are sometimes bleak, sometimes encouraging, but always compelling.
  11. Enduring Love is an intellectual investigation of love from three equally frustrating perspectives - the physical, the spiritual and that mixture of emotion, psychology and interpretation we call art - couched loosely in a cool stalker thriller.
  12. What the intelligently spooky Birth does best is disturb us.
  13. Saw
    Saw is so full of twists it ends up getting snarled. For all of his flashy engineering and inventive torture scenarios, the Jigsaw Killer comes across as an amateur. Hannibal Lecter would have him for lunch.
  14. Ray
    Ray may be too by the numbers, but with Jamie Foxx out front, this is one film that knows how to make it all add up.
  15. It thinks it's cute, but it's as charming as an old drunk going on about how he knew Eastwood back in the day.
  16. Exactly written, directed with a surgeon's precision and transcendently acted, Sideways brings emotional reality to a consistently amusing character comedy, making it something to be cherished like the delicate Santa Ynez Valley wines that are the story's vivid backdrop.
  17. Once the filmmakers have got the celebrities settled into Stella Street, they have a hard time figuring out what to do with them. Stella Street is the road best not taken.
  18. Feels like an acting exercise stretched to feature length.
  19. LaPaglia, Feeney and Stoltz soldier bravely through an uninspired, airless script.
  20. The result is a movie that doesn't add up to the sum of its parts, yet some of those parts connect deeply anyway.
  21. The less-than-persuasive result is like mediocre leftover psychedelic '60s underground cinema.
  22. One terrific concert film.
  23. Undeniably a heart-tugger, but it is also a stirring affirmation of the rewards of a job well done.
  24. Not quite stunning enough to live up to a boldly bleak and unrelenting buildup.
  25. More than anything, The Grudge suggests that it's time for Shimizu to move on.
  26. A dismally formulaic hodgepodge of crude humor and wan attempts to tug at the heart.
  27. Like Moore's film, Celsius hits too many topics with too broad a brush, resulting in yet another contribution to this campaign season's spin cycle of rhetoric.
  28. Breillat's first foray into comedy is playful, whip-smart and far breezier in both tone and look than the stylized gender polemics she's known for.
  29. A tedious, precious fantasy.
  30. Cassavetes' riveting film not only re-creates the glory days of the Z Channel through a generous offering of film clips and interviews, but also presents a clear-eyed portrait of its creative driving force, Jerry Harvey, and the tragic circumstances of his death.
  31. Once you get beyond the absurdity of the premise, it works.
  32. The movie is so glum and flat-footed there's no reason to care.
  33. The thriller with a promising premise fails to deliver.
  34. There's such a rich sense of the fullness of life in Moolaadé that it sustains those passages that are truly and necessarily harrowing.
  35. The movie is like a promising date that goes nowhere.
  36. The filmmakers have brought such breadth and depth to the material. Everyone counts in this film, not just Julia Lambert.
  37. Good-natured comedy.
  38. Inspired by actual events, Saints and Soldiers benefits by being a small-scale war movie.
  39. A sleek Hollywood crowd-pleaser, more movie than art film, but its makers have wisely stuck not only to the spirit but often even to the letter of the original.
  40. Yes, it's inventive, yes, it's out-there and audacious, but no, it's not always as funny as those good things would lead you to hope.
  41. Genteelly erotic, surprisingly emotional, exquisitely made from start to finish.
  42. As lovely and heartbreaking as Staunton is to watch, there's something about Leigh's attachment to his politics that leaches some complexity from the experience
  43. Gentlemen, it's a male chick flick - "The Dirty Secrets of the Ya-Ya Brotherhood."
  44. An appealingly wry little film that is as appetizing as its title.
  45. At once corny and precious, its humor seems too heavily ethnic to travel well.
  46. Amusing and informative.
  47. A garishly slick piece of exploitation with surprisingly high production values but nary a moment of suspense.
  48. Sly and witty.
  49. Real enough around the edges to hold our attention even if it sacrifices accuracy for storytelling ease.
  50. Frustrating as I ultimately found it, Primer is undeniably geek heaven. For everyone else, it's a nice antidote to big-budget bogusness.
  51. Hilary Duff can't rise above an overbearing script with underdeveloped roles.
  52. A remarkable and remarkably compelling document.
  53. Full of car chases, weak jokes and scenes so meandering they make "Saturday Night Live" look like a paragon of brevity and wit.
  54. Lively, incisive and comprehensive documentary.
  55. This is the biggest surprise of all -- it's hard to watch Going Upriver without wondering, frankly, what became of the young John Kerry, who comes off so exceptionally well in this film.
  56. Although decently acted and well-crafted, Thérèse is essentially an illustrated Sunday school lecture for true believers. It comes across as more an exercise in determined piety.
  57. There's a bedrock honesty in Woman, Thou Art Loosed in its grasp of human nature and behavior. This is one faith-based film that pulls no punches.
  58. Should be required viewing for youngsters thinking about a music career. It's a great reminder to be careful what you wish for.
  59. It does not have as much invigorating freshness as audiences have come to expect in computer animation.
  60. The movie is undeniably weird, though it's hardly what you'd call "experimental." My hunch is that whether you love it or reject it as obtuse, incoherent or self-involved will be a generational thing.
  61. As a loving tribute to the courage and sacrifice of firefighters, it's first-class. As a movie, it's a TV show.
  62. Focuses on what the filmmaker contends is widespread abuse of civil liberties carried out in the wake of the USA Patriot Act and other administration policies.
  63. Fascinating.
  64. A poignant love story, laced with tenderness and gentle humor and told with the warmth of Italian movies in their seductively good-natured mode.
  65. Smart and amusing.
  66. Fjellestad exhibits a playful adoration for the man and the otherworldly sounds of his machine in an intriguing rendering of one of music technology's seminal figures.
  67. While First Daughter is nowhere near as airheaded or disingenuous as "Chasing Liberty," it's far more confused.
  68. This raucously gritty and high-spirited film could scarcely be bluer in terms of the language, but from Waters it comes as a gust of fresh air.
  69. Feels like it was written by an oddball artist-temp type with an ax to grind - which, as it happens, it was.
  70. An earnest but overly contrived and overly long tale.
  71. It's deftly done with an off-the-wall sense of humor joined to a real insider's sense of how the business operates.
  72. Such unabashed ludicrousness can be fun, in a brainless sort of way, especially when it's coupled with lots of sudden defibrillator jolts underscored by crashing cymbals. If there's one thing The Forgotten has, it's plenty of cardiac moments.
  73. It's a grisly but sweet ode to friendship, love and the George Romero zombie trilogy.
  74. What follows is graphic, but it's too cerebral and too challenging to be dismissed as pornography.
  75. Soulful and reflective film, as gentle as it is potent.
  76. The visceral thrills do not make up for the ultimate banality of the movie.
  77. Isn't remotely funny or pointed enough to qualify as satire. Intentionally or not, it comes across instead as a portrait of a man whose self-regard knows no limits.
  78. Plays out like a Frank Capra movie with the "little people" taking on corrupt and indifferent officials. In the process the film strikes a strong blow for the dignity of labor and introduces an array of brave individuals.
  79. For all its moments of pathos, Cowboys & Angels is lighthearted. It is an assured piece of work and wholly engaging.
  80. An elegant Merchant Ivory production, it is too slight and perhaps too precious. But it will be a witty pleasure for admirers of its grande dames: Dianne Wiest, Jane Birkin and Bulle Ogier.
  81. Lacks freshness and vitality.
  82. It's a convincing romantic drama, written, directed and acted with so much skill it's able to break loose from its conventional moorings and become more effective, more moving than we anticipated.
  83. Good-looking and smooth, with a great soundtrack.
  84. An amusing mock documentary that spends considerable energy artfully trying to make you believe it's real as real can be. The movie is transparently a fake, but its counterfeit nature is the heart of its charm.
  85. A one-gag movie and that one gag isn't funny. Taylor and Lasser are reduced to playing sex-starved Norma Desmonds, and while Friedle and Owen are certainly game, their plan is a waste of everyone's time, especially the audience's.
  86. A lovingly rendered visual treat struggles with indifferent direction and torpid plot.
  87. The dark sequel offers gorgeous images, with an updated and stylish design, but its characters' angst gets in the way of storytelling.
  88. The Bjorn Borg of romantic comedies: precise, good-looking, dependable and serviceable, if predictable. It never really heats up, which is too bad.
  89. A series of miscalculations caused this project to lose its way, until what we're left with is a film that should involve us more than it does.
  90. Everything blends in a haze of longing, so that watching it feels like being in love.
  91. Captures Los Angeles in a straightforward, naturalistic way, neighborhood-hopping like a native.
  92. Surprise after surprise follows in this increasingly dark comedy, which is loaded with sharp observations and exceptionally complex characterizations.
  93. Illustrates what happens when a viable premise is spoiled by sheer preposterousness.
  94. In short, Vlad could have used a substantial transfusion of wit and energy, with a dash of dark humor.
  95. With its improvisatory tone and loose, rambling structure, which often approaches a total breakdown of coherence, the story takes about half an hour to emerge.
  96. Witt injects the film with plenty of razzle-dazzle on the visual side, but the pace deadens whenever the zombies are offscreen or the characters open their mouths long enough to do anything more than grunt.
  97. Enid Zentelis' affecting and intimate Evergreen deals with family life and coming of age and is the kind of small, deeply personal American film that rarely surfaces even in art theaters these days.
  98. Contends that doctrines, including promoting unilateralism, increasing military spending and protecting "access to vital raw materials, primarily Persian Gulf oil," can be traced from right-wing think tanks into U.S. foreign policy.
  99. An undeniably odd film, this ode to pooches is more than just a dog calendar come to life.
  100. A decorative Italian soap opera with an asterisk for earnest aspirations. Its beautiful people say painful things to each other in gorgeous clothes, and though the film expects us to take their problems seriously, it's awfully hard to do so.

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