Los Angeles Times' Scores

For 16,526 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:
16526 movie reviews
  1. W.
    W. is not a dispassionate biography; it is an interpretation of personality intersecting with history, and as a piece of drama it is persuasive and perfectly creditable.
  2. Oliver's instant switch from bespectacled nerd to Thai-stick smoking, love-struck tourist is more embarrassing than convincing, as is the film's reliance on literally elephant-heavy symbolism.
    • 31 Metascore
    • 20 Critic Score
    Turning video games into movies may be one way for studios to coax teenagers away from their laptops, but this time around, the results are miserable, in every sense of the word.
  3. If the makers were hoping they'd chronicled a metaphor for life's struggle, they probably weren't counting on the struggle being monotony.
  4. What's being sold here is the movie equivalent of the honey-drenched sweet potato biscuits that are forever being passed around on-screen. Their nutritional value may be nil, but they sure look comforting.
  5. Occasionally sharp but never quite as smartly formed as it could be, this Sex Drive is only partly worth the trip.
  6. Makes for a thoroughly captivating film.
  7. Always crisp and watchable. But as the film's episodic story gradually reveals itself, it ends up too unconvincing and conventional to consistently hold our attention.
  8. Has a sitcom format, but complex emotions and perceptions keep breaking through the surface in an engaging, thoughtful manner.
  9. None of this means that the film is necessarily enjoyable to watch, however, which is often the problem when the rigors of inspired storytelling can't live up to an imaginatively designed filmic world.
  10. If one will pardon the obvious analogy, The Express ends up feeling like a fumble at the goal line, coming across as simple-minded and melodramatic.
  11. Good Dick carries its messed-up, highly improbable premise so lightly and gracefully that it ultimately comes off as a sweet, plausible and curiously grounded love story -- and touchingly old-fashioned.
  12. As is always the case with Leigh's protagonists, Poppy does not fit into a schematic log line, she simply is. She exists with an intensity that few other filmmakers' characters can manage because of the singular way Leigh creates his people.
  13. Shame as well upon the advance marketing department for blowing the end of the movie in ads, thus exorcising any ghost of a chance Quarantine had of issuing a surprise.
  14. "Ashes" is glorious and ultimately wrenching, but it's a tough journey.
  15. What makes Choose Connor so special and unsettling is the consistent adroitness and perfect timing with which Eberl makes his revelations.
  16. All in all, Call + Response makes alarmingly clear how ugly, pervasive and out-in-the-open the trade in humans for sex or labor often is.
    • 53 Metascore
    • 60 Critic Score
    Ritchie whisks you along on a whirlwind tour, but he's not averse to putting on the brakes long enough to admire some of his favorite attractions.
  17. Best and most unexpected of all, Rachel Getting Married dares to mix the bitter with the sweet. It understands that life-altering situations like weddings not only bring out the worst in human behavior but also the finest.
  18. Though he claims to be a seeker, someone who "has to find out" why believers believe, Maher sets out not after answers but cheap laughs that preach, so to speak, to the converted.
  19. Despite its superficial lip-service to self-actualization/realization, there has to be more to life than what Beverly Hills Chihuahua is putting out there, which is fit for neither man nor beast.
  20. What was presumably intended to play like a fable plays, instead, like an overly long car commercial crossed with a scare-mongering public service announcement.
  21. Wants so much to be liked, even with its prickly, difficult hero, that it misses the mark of nonobviousness necessary not only for a patent, but also for a thrilling, original work.
  22. It's a gag-strewn, hit-and-miss affair that's not without its chuckles.
  23. The putrid showbiz comedy How to Lose Friends & Alienate People appears to hit DEFCON 5 in mistaking its brand of moral laxity for cutesy irreverence.
  24. It is a teen romantic comedy that largely fits the familiar template but is also fleshed out with atmosphere, a nice blend of broad goofiness and sophistication, and two appealing leads who bring it to life.
  25. It has the potential to be culturally bridging in its way, and that makes looking for Muslim comedy in the Western world worthwhile.
  26. A quintessentially American story that unmistakably echoes European art house cinema, combining the aesthetic purity of France's Robert Bresson with the social consciousness of Belgium's Dardenne brothers. It also is a powerful, character-driven melodrama that easily holds our attention from first to last.
  27. The movie is well shot and edited, the rugby scenes are enjoyable (if likely puzzling to the uninitiated) and "Strong's" earnestness excuses at least some of its predictability.
  28. A promising effort that doesn't cohere into anything more, Smother never fully comes to life.

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