Los Angeles Times' Scores

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For 16,533 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:
  1. Positive: 8,703 out of 16533
  2. Mixed: 5,813 out of 16533
  3. Negative: 2,017 out of 16533
16533 movie reviews
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  1. How I Killed My Father
    Truly, there can be nothing as complex as the simplest human relationships, and nothing as satisfying as a film that understands that as this one does.
  2. S1m0ne
    Such a tedious Hollywood farce, so unpleasantly glib and relentlessly shallow, that Pacino's excessive performance is not even the worst thing about it.
  3. Gibel Otrara
    Shot in sepia, "The Fall of Otrar" is as exotic in look and feel as a Sergei Paradjanov fable but a lot more rambunctious and savagely humorous. Unfortunately, it is exceedingly hard to track and not surprisingly assumes the viewer is up to speed on medieval Central Asian history. [03 Feb 2005, p.E20]
    • Los Angeles Times
  4. One Hour Photo
    All too predictably, as if obeying some rule of genre, the director trades in his more involved ideas about alienation and voyeurism for an eruption of violence, then tags on some nonsense about marital fidelity.
  5. Long Time Since
    Porizkova and Sands seem too young for their roles, but then the film seems as timeless as a fable.
  6. Possession
    LaBute can't avoid a fatal mistake in the modern era: He's changed the male academic from a lower-class Brit to an American, a choice that upsets the novel's exquisite balance and shreds the fabric of the film, corrupting all of LaBute's good work and robbing it of the impact it would otherwise have.
  7. The Adventures of Pluto Nash
    It's not awful, but the high cost of a movie ticket these days seems like a steep price to pay for 90 minutes of air conditioning and production design.
    • Los Angeles Times
  8. Mostly Martha
    It's a drag how Nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding; there's a puritan, even punitive, cast to the way she sees her character, whose pathology she digs at with the tenacity of a truffle hound.
  9. Blue Crush
    Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
  10. Katakuri-ke no kôfuku
    Long-winded and ultimately uninvolving.
  11. All My Loved Ones
    It is crucial when viewing All My Loved Ones, with its fine ensemble cast and well-evoked sense of time and place, to remember that it unfolds as a recollection of David, a boy of perhaps 10 in 1938.
  12. I'm Going Home
    By far the most approachable of the director's recent films, with an emotional depth that's true to life and a streamlined narrative that for long stretches barely contains a word.
  13. The Château
    Delightfully bittersweet culture-clash comedy. If what's funny is frequently hilarious, then what's nasty truly stings, and the film is honest enough not to tie up everything with a ribbon.
  14. Scarlet Diva
    It's a demented kitsch mess (although the smeary digital video does match the muddled narrative), but it's savvy about celebrity and has more guts and energy than much of what will open this year.
  15. Secret Ballot
    Secret Ballot, which has a rich, spare score by Michael Galasso that blends Eastern and Western motifs, is funny, provocative, well-paced and leaves a memorable bittersweet aftertaste.
  16. xXx
    Built of action-sport stunts, has adrenaline to spare. But, c'mon. Where is its sense of fun?
  17. The City of Lost Souls
    There's enough atmosphere, mayhem and just plain energy to make the film a viable midnight movie.
  18. 24 Hour Party People
    Amazing, rich in authentic period atmosphere and detail, an ever-changing cyclorama of a movie.
  19. Blood Work
    There's a certain pleasure in seeing a thriller that's almost a relic of a bygone era. There's nothing flashy about Blood Work, no in-your-face nihilism, no hot young actors you'd know from the WB network if you ever watched it.
  20. Spy Kids 2: Island of Lost Dreams
    Though it's longer and more elaborate than it needs to be, it shares its predecessor's smart but relaxed sense of humor, a sophisticated imagination and the ability to be sharp and playful without being malicious.
  21. The Good Girl
    The extraordinary quality of White's script and Arteta's direction lifts the meticulously cast actors to the height of their abilities. "Friends" star Aniston digs deep but is never showy. Reilly reveals the tenderness, vulnerability and hidden depth that can lurk within a slob, and Nelson has some of the film's most outrageously funny and inspired moments.
  22. Martin Lawrence Live: Runteldat
    Lawrence is a no-holds-barred stand-up comedian who gets away with the strongest, most graphic language because he is so funny and because he makes himself the object of so much of his humor.
  23. Full Frontal
    When a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer, better written and of considerable more interest than the finished film, that's a bad sign. A very bad sign.
  24. One Last Kiss
    Its portrait of the many ways we can complicate our romantic lives may have a few serious moments, but it's intended to go down easy, and that's what it does.
  25. The Master of Disguise
    But even Carvey's protean talent can't dent this ponderously unfunny and uninspired comedy. It's hard to imagine anyone older than 10 being diverted by its broad buffoonery, and kids deserve better than this in the first place.
  26. Signs
    Shyamalan's great gift is the creation of atmosphere, the conjuring of spooky, unseen menace. When he gets around to doing this in Signs, all is well, but it's a tossup as to whether the film offers enough of a payoff considering how long it takes to get where it's going.
  27. Merci Pour Le Chocolat
    Once again Chabrol's son Mathieu has composed a crucially evocative score, and Renato Berta's cinematography is gleaming. Merci Pour le Chocolat crackles with wit and elegance, humor and pathos.
  28. The Kid Stays in the Picture
    A witty, colorful and poignant account of the life and times of producer Robert Evans.
  29. Swimming
    Ambrose's Frankie, who is more intelligent and capable of reflection than those around her but is even more unworldly than she realizes, is tremendously appealing.
  30. Lan Yu
    Assured, vital and well wrought, the film is, arguably, the most accomplished work to date from Hong Kong's versatile Stanley Kwan.
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