Los Angeles Times' Scores

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For 16,522 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: 8,697 out of 16522
  2. Mixed: 5,808 out of 16522
  3. Negative: 2,017 out of 16522
16522 movie reviews
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  1. Nell
    The strength of Foster’s spooky performance makes Nell more effective and worthwhile than it otherwise deserves to be. And it is just because we come to care about that unusual young woman that we wish she were in a better movie, but that was not to be.
    • 34 Metascore
    • 30 Critic Score
    Street Fighter
    If the story isn’t quite incoherent, then De Souza’s klutzy direction renders it so.
  3. A Man of No Importance
    Towering over one and all, not surprisingly, is Finney as the increasingly tormented but brave Alfie. [22 Dec 1994]
    • Los Angeles Times
  4. Mixed Nuts
    Mixed Nuts is a farcical whirligig that doesn't whirl. It's energetically unfunny, like "Radioland Murders," and, like that film, it boasts top-flight talent. Maybe the idea of making a comedy about a suicide prevention center just got to everyone-it's a bummed-out comedy about being bummed out. [21 Dec 1994, p.1]
    • Los Angeles Times
  5. Little Women
    Armstrong, screenplay adapter/co-producer Robin Swicord and their colleagues have got everything just right. [23 Dec 1994]
    • Los Angeles Times
  6. Richie Rich
    Richie Rich presents an irresistible Macaulay Culkin in a wonderful part and bursts with the gadgetry that many adults thrill to as much as children do. At the same time, it never loses touch with its humanity, directed by Donald Petrie with humor and panache.
  7. Disclosure
    The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
    • Los Angeles Times
  8. Cobb
    Without anyone to care about, Cobb's script problems become increasingly intractable. Confronted by Cobb's volcanic personality, the film is completely nonplussed, unable to decide if it should be amused, piteous, reluctantly admiring or just plain disgusted.
  9. Trapped in Paradise
    It holds its audience hostage for an unconscionable 111 minutes with a rambling, unfunny, thickly sentimental comedy that plays like third-rate Frank Capra. [02 Dec 1994, p.F6]
    • Los Angeles Times
  10. Mrs. Parker and the Vicious Circle
    Directed by Alan Rudolph and co-scripted by him with Randy Sue Coburn, Mrs. Parker is a real odd duck of a movie. It seems to have been made both as tribute and put-down. The sporty conviviality of the Algonquin Round Table is celebrated, and yet there's a hollowness to the confabs.[21 Dec 1994, p.4]
    • Los Angeles Times
  11. Junior
    Effective, but despite the trio's fine efforts Junior can't get past lightly amusing, never manages to work up a sustained comic head of steam.
  12. Love and a .45
    Talkington not only has style but also a terrific way with actors, giving them the confidence to go over the top while having fun doing so.
  13. Star Trek: Generations
    Going boldly where no one has gone before is not what it used to be. Contentedly settled into a prosperous middle age, the "Star Trek" series now seems more comfortable retracing its own footsteps, carefully offering its horde of fans interludes that aspire to do no more than fit snugly into the patterns of the past.
  14. The Swan Princess
    Sprightly and engaging, it unfolds with clarity and makes excellent use of its voice talents, most notably that of Jack Palance as the villainous Rothbart; the colorful witty, familiar menace of his voice allows him to all but steal the show. [18 Nov 1994]
    • Los Angeles Times
  15. Heavenly Creatures
    This ability to get inside hysteria and obsession, the skill to make us feel sensations as intensely as its protagonists, is what makes “Creatures” memorable.
  16. Interview with the Vampire: The Vampire Chronicles
    Although he works his hardest at the part and doesn't embarrass himself, even with the help of Stan Winston's vampire makeup Tom Cruise is plainly miscast as Lestat. [11Nov1994 Pg. F1]
    • Los Angeles Times
  17. The Santa Clause
    All of the film's technical and creative contributions are top-notch, but as it should be, it's the people who win us over. [11 Nov 1994 Pg. F10]
    • Los Angeles Times
  18. Oleanna
    David Mamet's Oleanna, adapted from his two-character play, is about sexual harassment, but it's the audience for this movie that gets harassed. Mamet must mean for this movie to be as enjoyable as fingernails scraping a blackboard. For both men and women, watching it is intended as an act of penance for all our sexist, elitist, feminist, patriarchal ills.
  19. Mary Shelley's Frankenstein
    Even if the vivid Whale/Karloff version had never been made, this treatment of the Shelley novel would be a loud and tacky disappointment.
  20. Double Dragon
    This Gramercy release, expertly aimed at youthful audiences, is another instance of an exceedingly elementary plot played against production design and special effects of awe-inspiring imagination and sophistication.
  21. Stargate
    Without Davidson Stargate might seem clunky and routine, but he gives it a weirdo charge. It may be a lousy movie, but it's a more enjoyably lousy movie than most.
  22. Love Affair
    Though it is effective in fits and starts, this third version of that sturdy tale (the fourth, if you count Sleepless in Seattle, which it in part inspired) never manages to be more than a reasonable facsimile of its progenitor.
  23. Clerks
    Though the politically incorrect language is tough enough to have earned Clerks an initial NC-17 rating (re-rated R on appeal), its exuberance gives it an alive and kicking feeling that is welcome and rare. [19 Oct 1994]
    • Los Angeles Times
  24. Pulp Fiction
    The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities. [14 Oct 1994]
    • Los Angeles Times
  25. Hoop Dreams
    By focusing on the personal side of the city game, Hoop Dreams tells us more about what works and what doesn't in our society than the proverbial shelf of sociological studies. And it is thoroughly entertaining in the bargain.
  26. Wes Craven's New Nightmare
    Freddy Krueger fans will exult and horror movie mavens will not be surprised: Wes Craven's New Nightmare is much better than the usual run of scare pictures. [14 Oct 1994, p.F4]
    • Los Angeles Times
  27. Texas Chainsaw Massacre: The Next Generation
    What we want from Texas Chainsaw Massacre: The Next Generation is a giddy mix of gruesome horror and campy humor. What we get is less massacre than mess. [29 Aug 1997, p.F16]
    • Los Angeles Times
  28. See How They Fall
    See How They Fall"shows an ambitious director well on his way to being the master of his game.
  29. Dear Diary
    This single joke rapidly gets pretty tired; you soon wish you could tell Moretti to try slapping on some calamine lotion--and getting on with his life. But stringing us along--with varying effectiveness-- is his life.
  30. The River Wild
    Having abandoned for a while the portrayal of real people, Streep demonstrates here that what great actresses do is show us ordinary people in an extraordinary light.
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