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. Sleepers
    The film's tone works overtime at mythologizing tawdry incidents into some ultimate epic about the lost innocence of youth. Gilded trash is more like it.
  2. The Jackal
    Sporadically effective, it appears not to have particularly excited the people who made it, and that lackadaisical quality is a drawback.
  3. Hoodlum
    Laurence Fishburne is one actor who has charisma to burn, but even his incendiary performance can't ignite Hoodlum, a would-be gangster epic that generates less heat than a nickel cigar. [27Aug1997 Pg 8]
    • Los Angeles Times
  4. Mad City
    Mad City is an example of how enervated polemical filmmaking can become when its plot loses contact with plausibility.
  5. Speed 2: Cruise Control
    Though it displays enough perils to put a dent in future cruise ship sales, the film has a makeshift, slapdash quality that is the opposite of its predecessor.
  6. Jumanji
    Something bad happened on the way from the book to the movie. [15Dec1995 Pg. F.01]
    • Los Angeles Times
  7. Basquiat
    A paint-by-numbers version of an artist's life, Basquiat is amusing for all the wrong reasons, especially at those horrible moments when you realize you're supposed to be taking it seriously.
  8. Indecent Proposal
    Redford's Gage is so busy being exquisitely sensitive and polite he neglects to project any energy, and without it the crucial morning-after part of the movie gradually collapses under the weight of its own self-importance. [07 Apr 1993 Pg. F1]
    • Los Angeles Times
  9. Return to Paradise
    Though the Strick-Robinson script is solid from line to line, the film's plot is finally too implausible for anyone to rescue.
  10. Bram Stoker's Dracula
    Coppola decided that he really wasn't making a horror film after all, but rather a love story, a comic burlesque, a costume drama, a piece of erotica, whatever. But no matter what else you do with it, a Dracula that cannot manage to be more scary than silly is as pitilessly doomed as that elegant old Transylvanian himself. [13 Nov 1992]
    • Los Angeles Times
  11. Jack
    Jack is more depressing than the weight of its demerits because of the quality of the work both these men have done before.
  12. Even Cowgirls Get the Blues
    Loaded as it is with undeveloped notions about feminism and individuality, nothing about it is really memorable except the appealing musicality of the fine k.d. lang/Ben Mink score, which deserves better. [20 May 1994]
    • Los Angeles Times
  13. Falling Down
    Falling Down encourages a gloating sense that we the long-suffering victims are finally getting our splendid revenge. The ultimate hollowness of that kind of triumph reflects the shallowness of a film all too eager to serve it up. [26 Feb 1993, p.1]
    • Los Angeles Times
  14. Lethal Weapon 3
    The latest, and, one fears, not the last episode in the kiss-kiss-bang-bang saga of L.A. police Detectives Roger Murtaugh (Danny Glover) and Martin Riggs (Mel Gibson) is even more of a comic strip than its immediate predecessor. [15 May 1992]
    • Los Angeles Times
  15. Kindergarten Cop
    It would be lying not to say that some of the moviemakers here aren't working at the top of their craft, or that the movie won't reach audiences. On its own terms, Kindergarten Cop is nearly fool-proof: the last word in glib, shallow, soulless, spuriously warm-hearted commercialism. [21 Dec 1990, p.1]
    • Los Angeles Times
  16. Swing Kids
    Except for that music and a bit of the acting, Swing Kids is unsatisfactory from just about every point of view. [05 Mar 1993]
    • Los Angeles Times
  17. The Dead Pool
    With its stylized story-line and almost styleless direction, it sometimes resembles a juggling act with sledgehammers. [13 Jul 1988, p.1]
    • Los Angeles Times
  18. Rambo III
    Admirers of Rambo III will probably point out that it moves fast. But then, so does a gazelle-and a gazelle has better dialogue and more personality. [25 May 1988, p.1]
    • Los Angeles Times
  19. Nightwatch
    Nightwatch is a seriously overcast B-movie with rote performances from everyone but Brolin, who gives James an edge of danger that says that if he isn't a killer, he will be.
  20. Kalifornia
    Not only are none of these characters particularly fun to be with, but the inevitable violence that enters their lives is strong and unpleasant. [03 Sep 1993]
    • Los Angeles Times
  21. The Adventures of Ford Fairlane
    It's camp noir, but the director, Renny Harlin, doesn't allow the jokes, feeble as they are, to take hold. He slam-bangs the action as if he was prepping "Die Hard 2," so that even Clay's self-infatuated strut and bleary leer don't have time to register. The film is pointlessly souped up. [11 Jul 1990, p.1]
    • Los Angeles Times
  22. Takers
    Did I mention the dialogue? Well, really the armored car driver put it best when he said, "We're in trouble here…" No joke.
  23. Marmaduke
    Wilson's amiable vocal work keeps the predictability from becoming too grating.
  24. Suddenly Naked
    Crewson is a game, experienced actress but hasn't sufficient star charisma to lift Suddenly Naked out of the doldrums.
  25. Russian Doll
    Quickly becomes silly and tedious.
  26. Confessions of a Dangerous Mind
    George Clooney's first effort behind the camera was doubtless more stimulating to direct than it will be for audiences to watch.
  27. Union Square
    Far more troubling than the documentary's lack of data and analysis, its refusal to pose even basic questions -- whether, for instance, the so-called war on drugs is a total farce -- is the sense that these seven lost souls are principally on display for our viewing displeasure.
  28. Wake
    Nothing is allowed to build, so there is no tension or surprise left for the film's climax, resulting in a reductively pulpy rehash of 20th century American drama.
  29. September Tapes
    The visceral thrills do not make up for the ultimate banality of the movie.
  30. Bandido
    A bust. As murky as its release print, it is a stale, incoherent spy caper.
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