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. Walker was the best choice to document this journey. For one thing, her first film, "Devil's Playground," and its examination of how Amish teenagers react when confronted with the outside world, showed her to be both curious and fearless. Plus, it turns out she is herself blind in one eye.
  2. 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.
  3. The wave-like "Rashomon" structure of the story, combined with the steady pace and moody look of Vivere are lulling, but in the end the situation is neither believable nor fantastic enough to be very compelling.
  4. Scarcely original and in no way earthshaking, but its notable cast is a pleasure to behold.
  5. Morgen's decision to avoid talking heads recounting events and find a way to dramatize them instead is consistent with his intention for the film. The director wants to bring recent history to life for people who weren't around to witness it, and in that he succeeds pretty admirably.
  6. Not content to be a mildly diverting royal bodice-ripper, it spirals out of control into the kind of overwrought dramaturgy that's out of its league.
  7. There's no real rigor or craft applied to this story -- just mood, tone, neo-gothic imagery and frantic attitude. If only Penelope knew what it truly wished to be and how to go about it. Which is probably what this overly coy fantasy's modestly appealing title character wishes as well.
  8. For all its sad moments, Romulus, My Father is a love story between father and son kept aloft by unalloyed admiration.
  9. Harrelson and Maura Tierney, who plays Monix's love interest, seem to be inhabiting a different, more interesting, movie, one that follows the familiar path of a has-been athlete seeking redemption at what looks like his last stop. The strange thing is that the subplot is so tangential to the rest of the movie that the scenes could be omitted with no one the wiser.
  10. Though The Unforeseen has a few too many clips of Robert Redford, its environmentalist executive producer, its strength is its realization that these unforeseen developments are making few people happy.
  11. Chop Shop"exudes a sense of joyousness amid harshness. Bahrani celebrates those who never give up, no matter how badly their dreams are shattered.
  12. For the most part, it's an uneven if amiable and occasionally inspired comedy about getting through adolescence that hits some false notes along the way.
  13. Sweet-natured and likable as the movie is, it never really delivers on the promise of its ingenious premise, which hints at a subversive retelling of mainstream Hollywood movies but stops short at goofy homage.
  14. The Counterfeiters demonstrates that no matter how many Holocaust stories the movies tell, there are always new and unexpected ones waiting to be revealed.
  15. The truth is that two other films with Greengrass' name on them, "The Bourne Supremacy" and "The Bourne Ultimatum," have spoiled us for this kind of thriller filmmaking, and stacked against that, Vantage Point doesn't have a chance.
  16. Jacques Rivette has brought the Balzac short story to screen as a superb chamber drama. His is a graceful work of austerity and formality that perfectly captures the chaos of repressed emotions that see beneath the rigid conventions of aristocratic society.
  17. The story possesses a true depth of character; there is every reason to hope that Anno’s multiple meanings become increasingly clear in the subsequent installments.
  18. The movie suffers from the same malaise Romero diagnoses in society. It's just too mediated to be scary, despite its zeal for gore. You can't feel the characters' fear, and they don't seem to feel it either.
  19. A sweet and somber film that works hard to overcome its limitations.
  20. This is a film bound and determined to do whatever it takes to be your Valentine. If it had trusted itself more, it might even have succeeded.
  21. Jumper is all high concept with little invested in characters or story.
  22. Suffers slightly from that not-so-fresh feeling.
  23. Both sweet-natured and sharply pointed, a film whose poignant, emotional effects and subtle acting sneak up on you.
  24. It's a big, cheesy, familiar bore. With its garland of set pieces featuring Matthew McConaughey in mortal danger strung together by beach-groovy musical hooks, Fool's Gold feels at times like a third-rate Bond movie set to a Jimmy Buffett album.
    • 7 Metascore
    • 0 Critic Score
    It's not like Paris Hilton to rise above her material, but The Hottie and the Nottie sinks so low that all she has to do is stand upright.
  25. A dark comedy with a melancholy streak and punchy sense of humor.
  26. Surprisingly endearing and chock-full of a genuine appreciation of the moment.
  27. A near continuous assault of clichés, Welcome Home Roscoe Jenkins doesn't become truly bothersome until its denouement, when it attempts to wring unearned sentiment from the inevitable, awkwardly staged family rapprochement.
  28. A Walk to Beautiful will leave you speechless two times over -- first with despair, then with joy. Neither unmentionable subject matter nor nonexistent commercial prospects can keep this documentary from having a power over your heart that is unparalleled.
    • 40 Metascore
    • 40 Critic Score
    A middling, if stylish, psychological thriller making a perfunctory big-screen pit stop before its DVD release next week.

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