Los Angeles Times' Scores

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For 16,550 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: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. Angels Sing
    The juxtaposition of such country-music icons with the story's cringe-worthy treacle has one siding with Michael's bah-humbug attitude.
  2. 50 to 1
    Far too much of this plodding picture is spent on odd couple Chip and Alex's road trip transporting Mine That Bird to Kentucky. Forced atmospherics, clichéd action bits and some tone-deaf slapstick weigh things down as well.
  3. The Quiet Ones
    It's a junky, unscary genre piece with a misleading title, because director and co-writer John Pogue jacks up the decibels so often to manufacture frights that you fear a punctured eardrum more than anything else.
  4. Paris Countdown
    If Michael Mann, Luc Besson and Quentin Tarantino all ate the same bad sushi together, the unfortunate end result might just resemble the pre-digested pap that is the French thriller Paris Countdown.
  5. Faust
    Alexander Sokurov's Faust is a grueling side show of a film, a morbid, mightily uninvolving piece.
    • 27 Metascore
    • 30 Critic Score
    Speciesism: The Movie
    The film is more polarizing than persuasive.
  7. Expecting
    The movie's early promise fades, however, as an Apatowian crassness descends upon the comic situations, churlishness gets mistaken for rawness, and sweetness starts to feel manipulative instead of natural.
  8. The Falls: Testament of Love
    Apart from Farmer's effectively stricken portrayal of a singularly conflicted man, The Falls: Testament of Love is too earnest a slog to have any impact.
  9. Caught in the Web
    Chen's grand opus about the perils of the Internet already feels obsolete.
    • 54 Metascore
    • 30 Critic Score
    Body Bags
    It's worth recalling here that Carpenter made two of the better horror films of the modern era (Halloween and the vastly underrated The Thing), but career-nadir Body Bags is best zipped up quickly and abandoned along the comeback road. [07 Aug 1993, p.F16]
    • Los Angeles Times
  11. Alice Through the Looking Glass
    At every turn the filmmakers have simplified, banalized and sentimentalized Alice and her psychological landscape in ways that reek of ignorance at best and cynicism at worst.
  12. Regression
    Well-intended seriousness dismantles Regression, a not-exactly-horror horror movie that's also a mystery with no mystery.
  13. Enemies Closer
    Enemies Closer suffers from wincingly bad dialogue delivered as if by jocks in a high-school play and action choreographed as if for a gymnasium stage.
  14. The Boy Next Door
    Breathless, uninspired January junk that feels like the iffiest bits of a Lifetime movie and late-night cable schlock slapped together. (And not erotically.)
  15. Live at the Foxes Den
    Live at the Foxes Den comes off like some long-unproduced Broadway musical finally dusted off when someone raised enough money to mount it as a film production instead.
  16. Big Trouble in Little China
    Big Trouble in Little China is a try at mock-Oriental movie magic that goes leaden about a third of the way through -- and finally detonates into great, whomping firebombs of overcalculated, underinspired absurdity. [02 July 1986, p.10]
    • Los Angeles Times
  17. Reasonable Doubt
    Contrived and predictable yet fairly tense.
  18. Self/less
    A depressingly slick and empty house of cards that collapses under the weight of its muddled intentions.
  19. Friend 2: The Legacy
    Little parallelism or consequence can be gleaned from Kwak's narrative that crosscuts points between 1963 and 2010. Seeing as his surrogate in the first film is absent in the sequel, the shared cultural memory has also given way to genre exercise.
  20. Evangelion: 3.0 You Can (Not) Redo
    Desiccated by its pretensions, it's freeze-dried melodrama.
  21. Peter Brook: The Tightrope
    So instructional is the film, directed by Brook's son, Simon, that it feels like one of those P90X or Insanity home fitness programs: Try this at home. You too can perform on stage.
  22. Hollywood Seagull
    When a director merely goes through the motions, even Chekhov can be reduced to daytime soap.
  23. Dark Places
    In writer-director Gilles Paquet-Brenner's hands, it's a convoluted, airless procedural that generates practically no suspense and little that's thematically resonant about lost souls and poisoned memories.
  24. She's Funny That Way
    [It] is it all forced and regrettably laugh-free, despite the considerable energy the actors put into it.
  25. Tusk
    This tonal mishmash is a misfire of literally gross proportions.
  26. A Walk in the Woods
    Despite Redford's enthusiasm and best efforts, A Walk in the Woods is a tedious journey to nowhere special.
  27. The Longest Ride
    The two-plus hours is mostly marked by an emptiness born of scene after scene designed to blatantly manipulate emotions rather than trigger them.
  28. Wish I Was Here
    For a film that purports to be about the process of maturity and growth, it is woefully un-evolved, lacking in understanding and insight.
  29. Brightest Star
    Beware any movie that talks about what it is before being what it is.
  30. The Outsider
    Fairbrass has a certain rugged sincerity and appealing sense of barely coiled rage, but it's mostly wasted in a screenplay (by director Brian A. Miller) of gaping plot holes, wan excitement and dumb action cliches.
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