Los Angeles Times' Scores

For 16,536 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:
16536 movie reviews
  1. As long as it shuts up and keeps moving, Tracers makes for a sufficiently diverting, not to mention zero-emission, vehicle.
  2. Instead of a pot-boiling crime noir like the one that exists in the pages of the late French novelist Jean-Patrick Manchette's "The Prone Gunman" (which sounds better in French), the adaptation is a frustrating fiasco that kills the material and squanders its exceedingly fine cast.
  3. Though it might not sound it, watching Kumiko brood is mesmerizing. Kikuchi uses her mournful eyes to take us to dark places, though she's equally adept at surprise and confusion, even joy when it comes along.
  4. A more effective, adult-friendly film than its predecessor.
  5. Don't mistake a lack of flash for an absence of substance. The story told here couldn't be more significant or more timely.
  6. There's a veil of artifice clinging to every aspect of The Lovers, a thoroughly unconvincing time-traveling epic costume drama pairing a miscast Josh Hartnett and Bollywood beauty Bipasha Basu.
  7. A lovely and touching third act helps make up for a wobbly, at times convoluted first hour in the quirky fantasy-dramedy Walter.
  8. The action unwinds with the mechanical artifice of a creaky play, though Nadda creates a few strikingly cinematic moments.
  9. Rather than evincing any expertise or affinity for the genre, Wolsh's effort seems glib and hollow.
  10. This portrait of strong, independent women grappling with change in their individual lives holds initial allure, but the effect proves ephemeral.
  11. Despite Almereyda's invention in approaching this tawdry Shakespearean tale, he misfires badly. All that is left is the semblance of Cymbeline.
  12. A muddle of tired themes, bad behaviors and gruesome set pieces.
  13. The gimmick is marginally amusing as Max tests it out in ways both naughty and nice. But so many holes, questions and contradictions arise that it's hard to square the rules of the game.
  14. Champs is all over the place and at times too polished for its own good — too many celebrity fan testimonials when more insider insights would have helped. But it comes from a place of caring for an oft-maligned sport.
  15. [A] smart, relentlessly chilling thriller that opts for originality over cheaply rejiggered jolts.
  16. Rife with familiar elements given something of a different spin, Run All Night manages to leave you out of breath but hungry for more.
  17. Once the singer-songwriter model became the norm for the rock business, the Wrecking Crew's star began to wane, but seeing this film makes it clear what its members accomplished in their prime.
  18. As pure of heart as its heroine, Cinderella floats across the screen like a gossamer confection, full of elegant beauty and quiet grace.
  19. While the end result feels a tad overstuffed at 92 minutes, it's entirely understandable if, after more than half a century of being identified as "that guy," Miller's in no hurry to relinquish the spotlight.
  20. An Honest Liar isn't simply a career recap or a fond portrait; the movie takes exhilarating turns as directors Justin Weinstein and Tyler Measom follow present-day developments in Randi's personal life.
  21. [A] fascinating film.
  22. [A] stirring, tenderly observed French documentary
  23. There are tangible improvements in the techniques of writer-director Terron R. Parsons. But some of the nagging plot holes remain unresolved.
  24. Even if you do manage to make sense of the plot, it still doesn't make the film any more watchable.
  25. Strip away all the flimsy copycat stuff, including the cheesy retro synth score, and what lurks beneath is a perceptive portrait of contemporary thirtysomething relationships, no silly sleuthing required.
  26. Writer-director Zak Hilditch, with a strong assist from cinematographer Bonnie Elliott (who's bathed her frames in a kind of eerie sulfuric yellow), has crafted an urgent yet strangely simple and humanistic doomsday scenario.
  27. Otherwise fairly routine, the film draws fear from ancient mythology and historical grudges in a way more reminiscent of Japanese horror than its American contemporaries. Had Ojeda delved into that a bit more, he could have really set the film apart.
  28. It's the movie's slow drift toward happiness, though, when Bruce meets a widow (Diane Farr) with a sweetly razzing sense of humor that spurs a more refreshing less patently abrasive comedy from Carolla.
  29. The setting is striking, the cast impressive. But Two Men in Town, a drama that's built on dread and circles the question of redemption for a newly released prisoner, falls short of the mythic territory it aspires to.
  30. The wan drama is enlivened by bursts of black comedy, some bits more effective than others, and though it ultimately disappoints, there's promise in the understated creepiness of Riley Stearns' debut feature.

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