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. Hall Pass
    After scoring big in 1998 with "Mary" - the zipper issue, the "hair gel" mix-up, the roving troubadours - their (Farrelly brothers) raw inventive edge has never been quite as sharp. Hall Pass, starring Owen Wilson and Jason Sudeikis, continues that creative slide into everyday crude.
  2. Apollo 18
    Even if Apollo 18 is not exactly as it presents itself to be, it is less of a stunt than a low-key and unassuming film of rising tension rather than big scares or wild shocks.
  3. Something Borrowed
    Despite the pretty overload and the smoldering blue-eyed handsome of Egglesfield, the heart-pounding, palm-sweating, heavy-breathing chemical reactions that should be causing major blackouts in Manhattan, where this story unfolds, are nowhere to be found.
  4. Now & Later
    The clumsily shot and scripted Now & Later is a hollow concoction of sex, politics and endless chatter that's just a few camera angles short of hard-core porn.
  5. Brotherhood
    Brotherhood isn't badly acted or without some skillfully tense moments, but it doesn't have much in the way of entertainment value either.
  6. The Chaperone
    Levesque has rough, in-the-moment charm but paltry characterization skills, Corrigan's natural edge feels out of place as a Disney-esque hoodlum and Winter seems hamstrung playing an adolescent only a fraction as compelling as her hilariously bookish daughter on the ABC sitcom "Modern Family."
  7. The Twilight Saga: Breaking Dawn - Part 1
    The film doesn't have nearly the bite - ferocious or delicious - that any self-respecting vampire movie really should. It's as if all the life has drained away.
  8. X-Men: First Class
    A tedious two-plus hours. There were such possibilities in the origins idea.
  9. Take Me Home Tonight
    Overall Take Me Home Tonight represents a lateral move at best for its 24-hour party people, a step back at worst, and not worth your time either way.
  10. Mars Needs Moms
    Instead of breathing life into cartoonist Berkeley Breathed's cheeky kids morality tale, the movie - with all its 3-D motion capture animation flash - flatlines.
  11. Zookeeper
    Zookeeper has the territory-marking scent of a franchise product from the Sandler-produced stable: pratfalls, caricature and aggression, which the likeable-enough James isn't as effective at getting laughs with as he is the more recessive, aw-shucks moments.
  12. The Darkest Hour
    Capable and compelling performers like Hirsch and Thirlby seem left to their own devices to make some connection with the material. The idea of semi-invisible aliens, an unseen enemy, should mean the film has a lingering sense of paranoid abstraction (not unlike "Right at Your Door"), but Darkest Hour never gets beyond rote efficiency.
  13. Spy Kids: All the Time in the World
    This fourth "Spy Kids" picture isn't so much bad as it is just boring, lacking the buzz and brio of even some of the earlier entries in the series. It feels like someone is now just marking time.
    • 67 Metascore
    • 40 Critic Score
    Damsels in Distress
    Stillman too often substitutes pith for insight, until even that is drowned out by the sound of him chortling into his sleeve.
  15. Dream House
    With its telegraphed twists and clunky pacing, the film would be unbearable were it not for the fine trio of Craig, Weisz and Naomi Watts, all more or less slumming.
  16. Abduction
    Abduction is just the third movie John Singleton has directed in the past decade, and it contains neither the passion nor the competence of his two previous genre efforts - "2 Fast 2 Furious" and "Four Brothers."
  17. Texas Killing Fields
    As good as Worthington, Chastain, Moretz and Morgan can be as they try to untangle the morass and the menace - and get caught up in it - they just can't quite pull it off. The real killer, sadly, is the script.
  18. Goon
    Goon feels like a movie starring a gimmick, not a person.
    • 45 Metascore
    • 40 Critic Score
    Happythankyoumoreplease
    Treating their problems like they're the most important crises in the world is what people in their 20s do, but that doesn't mean we have to go along for the ride.
  20. Albert Nobbs
    When the filmmakers move into Nobbs' isolation, though, the movie flags - a surprise given Garcia's excellent work on HBO's minimalist personality study "In Treatment," on which he wrote and directed extensively.
    • 54 Metascore
    • 40 Critic Score
    Cracks
    Atmosphere is about all Cracks has going for it. Although it's nominally set between the wars, the movie feels rootless and adrift, less a fable than a story only half told.
  22. White Irish Drinkers
    The clichés are what make White Irish Drinkers a drearily predictable bout, so much so that the decent last-round plot twist that momentarily dazes is immediately undercut by the sappy, life-changing-fuh-EV-uh jab telegraphed from the beginning.
  23. Super
    Where Gunn's last feature "Slither" was an enjoyably icky, funny riff on schlocky horror tropes, the split-personality Super merely repels with half-baked ideas, Wilson's and Page's scorched-earth overacting and atonal bursts of jokey gore.
  24. Legend of the Fist: The Return of Chen Zhen
    Unexpectedly flatfooted when it should be light on its toes, Legend of The Fist fails to pack much of a punch.
  25. There Be Dragons
    It is a third man, a revolutionary, who nearly steals the show. Which might have been all right if writer-director Roland Joffé hadn't been so conflicted about whose story he wants to tell. But indecision can be deadly, and it proves to be here.
  26. Courageous
    Courageous, proves a particularly clunky, tunnel-visioned vehicle whose overbearing, overlong script nearly smothers the movie's quibble-free message.
  27. The Vow
    This is a movie that leaves you wanting more. To care more, to cry more, to love more.
  28. Lockout
    Mostly Lockout is lost in space.
  29. Ghost Rider: Spirit of Vengeance
    The first "Ghost Rider" film, directed by Mark Steven Johnson, was sort of a fizzy goof, the kind of movie where you don't expect much and then think, "Hey, that was actually kind of fun." Spirit of Vengeance, though, is undone by increased expectations, as promising more only makes it feel they are somehow delivering less.
  30. One Day
    As so often happens with love, what you hope for is not even close to what you get, and in this case we are left with a heartbreaking disappointment of a film.
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