Los Angeles Times' Scores

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For 16,524 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:
  1. Positive: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Midnight in the Garden of Good and Evil
    Listless, disjointed and disconnected, this meandering two-hour, 32-minute exercise in futility will fascinate no one who doesn't have a blood relation among the cast or crew.
  2. Brother
    While Yamamoto's bullets never miss, Kitano's attempt at tragic grandeur of "Godfather"-esque proportions misses to an almost embarrassing degree.
  3. Pitch Black
    A routine sci-fi/horror action-adventure, takes us where we've been countless times before.
  4. Gangs of New York
    Scorsese and his team have created a heavy-footed golem of a motion picture, hard to ignore as it throws its weight around but fatally lacking in anything resembling soul.
  5. Ju-on: The Grudge
    The film's repetitious, episodic structure seems to unnecessarily alleviate the building tension, making it a far less frightening film than it might have been.
  6. Once Upon a Time in Mexico
    Depp's performance reminds us that, yeah, it's only a movie -- just not a good one.
  7. The Grudge
    More than anything, The Grudge suggests that it's time for Shimizu to move on.
  8. Scary Movie 2
    All-out burlesque rather than spoof from the outset, the film becomes less and less amusing. Wayans has a wild zaniness that can be hilarious, but how many bodily function jokes, ultra-crude sexual innuendoes and quite a lot of men and women simply punching each other out can one movie endure?
  9. The Forgotten
    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.
  10. Dogville
    A provocation, a coup de theatre and three hours of tedious experimentation.
  11. A Cinderella Story
    Unfortunately, "Cinderella" feels like a pro forma TV movie from the get-go and relies almost entirely on Duff's likability to hold the audience's attention.
  12. Akira
    Akira is a jumble of high-tech visuals that will appeal only to hard-core Japanese animation fans. Viewers in search of a coherent narrative or polished animation should look elsewhere. [14 Mar 1990, p.F3]
    • Los Angeles Times
  13. The Day After Tomorrow
    The story is too silly, too woefully underwritten, to stake a claim on seriousness.
  14. Ice Age
    The problem rather is the wholesale embracing of what has become de rigueur in animation, the practice of treating major characters as if they were stand-up comics working a room in Las Vegas.
  15. The Life of David Gale
    Frankly, the film's real surprise is that it doesn't collapse under the weight of its sanctimonious posturing and howling pretension. The film is crammed with high-cultural references and people playing "smart," but none of it adds up.
  16. New York Minute
    A coy, frantic attempt at screwball comedy, lightly seasoned and more than a little gummy.
  17. Patch Adams
    Williams knows when material is working, and he knows the sound of an honestly aroused crowd. This ain't it!
  18. Raise Your Voice
    Hilary Duff can't rise above an overbearing script with underdeveloped roles.
  19. The Stepford Wives
    It was somebody's nitwit idea to rip out the story's guts and brains for a sour sellout of a finale -- which finds the filmmakers behaving exactly like Stepford men and turning an original into a dummy.
  20. The United States of Leland
    An ambitious and intelligent film probing that chronic contemporary phenomenon, the seemingly senseless crime, but it is ultimately unsatisfying for all its efforts and various pluses.
  21. Yu-Gi-Oh!: The Movie
    The appeal of Yu-Gi-Oh! for kids who play the card game shouldn't be too much of a mystery -- at least to any adult who admits to tuning in to celebrity poker on TV.
  22. Little Black Book
    It's an irrefutably bad movie, littered with paper-thin characters, crummy dialogue and a mawkish undercurrent that wells up any time it starts to resemble something smarter and snappier. Yet it is somehow redeemed by Murphy's agreeably quirky performance in a horribly underwritten role.
  23. Without a Paddle
    Despite some agreeably idiotic moments, Without a Paddle is also mostly without a rudder. Its few memorable highlights end up floating haplessly in a genial but uninspired and watery plot.
  24. I, Robot
    More disturbing, yet another robot, or maybe two, seems to have written a Hollywood script and hijacked a major studio production. Given the film's assembly-line screenplay and mechanistic storytelling, no other explanation seems viable. Certainly no one with a heartbeat or taste would blow so much talent, time and resources on such rubbishy writing.
  25. Napoleon Dynamite
    It's a simple collection of sight gags and pratfalls that mines the overly familiar turf of awkward adolescence without bringing anything truly original to the experience.
  26. Barb Wire
    Ought to be disreputable fun. Instead it ends up, all its explosions and exposed flesh notwithstanding, rather inert.
  27. Feeling Minnesota
    The go-for-broke plot twists are daring, but because there's no sense of background to the characters, one gets the sense it's all being made up as Baigelman goes along.
  28. The Chamber
    The Chamber is like a balloon that all the air has leaked out of. Maybe it wasn't magnificent before, but in its current state it is sad indeed.
  29. A Life Less Ordinary
    But the result is no more than a forced fable, a self-consciously smarty-pants concoction that is too clever by half and too pleased with itself in the bargain.
  30. Love! Valour! Compassion!
    That this is the first film for director Joe Mantello, who was nominated for a Tony for directing the stage version, may be compounding the problem. But frankly, if someone wanted to do a parody of a gay film like this, it's hard to imagine the sloganeering being much different.
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