Los Angeles Times' Scores

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For 16,523 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 16523
  2. Mixed: 5,808 out of 16523
  3. Negative: 2,017 out of 16523
16523 movie reviews
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  1. Police Academy 3: Back in Training
    The most you can say for Police Academy 3: Back in Training is that it's no worse than "Police Academy 2" -- which was awful. [24 Mar 1986, p.Cal-7]
    • Los Angeles Times
  2. Bent
    The crime thriller Bent, not to be confused with the acclaimed Holocaust-era drama of the same name, is a routine programmer filled with surface characters, generic tough-talk and forgettable plotting.
  3. Kings
    Ergüven's vision is a wild, melodramatic journey that offers no answers or insights, and by the end it only leaves one feeling, well, completely flabbergasted.
  4. Paul, Apostle of Christ
    A few minutes of thriller-like tension early on gives way to a lot of tediously scripted scenes of whisper-acting that rarely breathe life and humanity into what should be a potent turning point story in a religion's history.
  5. Dark Crimes
    Carrey's quietly exacting, uncharacteristic performance, though not qualifying as a saving grace, hints at some promising new career directions in the same manner Robin Williams successfully tapped a darker side with "One Hour Photo." All Carrey needs now is a better film.
  6. Girls vs Gangsters
    While those vibrant Vietnamese backdrops make for an enticing tourism pitch, audiences are advised to skip this girls trip.
  7. Red Notice
    A depressing reminder of what Hollywood considers “original” material these days, “Red Notice” plays one of those self-consciously convoluted, ultimately derivative long cons that strain so hard to seem breezily insouciant they wind up wearing you out. By the end, it’s the clichés that warrant a rest.
  8. Dead on Arrival
    It's all rather low-rent and generic, not particularly distinguished by its overused Bayou setting.
  9. Shifting Gears
    When the film, directed by Jason Winn, should accelerate, it turns sluggish, attempting to dot a few too many i's — thematically, emotionally, racing-wise — in telling its only marginally compelling story, with the lackluster Tom-Jeremy dynamic driving too much of the action.
  10. Over the Top
    There isn't a scintilla of surprise to any of it, and arm wrestling as a sport isn't really much fun to watch unless it's the match in The Fly. The only diversion is keeping track of the shameless advertising plugs that dot the film, like toadstools after a rain. It's not quite reason enough to go out to a movie, however.
  11. Replicas
    As Replicas races headlong toward its conclusion, the filmmakers manage to avoid every potentially interesting choice for far dumber, and far more inexplicable, conclusions.
  12. Little Women
    This adaptation completely bungles the update.
  13. The Escape of Prisoner 614
    While The Escape of Prisoner 614 has the right cast for a good old-fashioned romp, this movie barely moves.
  14. Shelter
    The dissipating focus and the turgidly explanatory dialogue ultimately affects the legitimately surprising twist at the end, one in keeping with espionage's great theme — the intertwining of loyalty and betrayal — but that lacks oomph after so awkwardly uninvolving a buildup.
  15. The Assassin's Code
    The Assassin's Code features a few plot twists, but none surprising. The situation and the characters are just too stock.
  16. Let's Kill Grandpa This Christmas
    Writer-director-star Brian Gianci keeps a snappy pace, and his cast is admirably willing to take chances, but when the humor doesn't land — which is most of the time — the movie's tough to take.
  17. 4/20 Massacre
    Its C-movie horror should only be experienced while under the influence when your judgment isn't at its best.
  18. Born Guilty
    The key to every successful comedy, romantic and otherwise, is having central characters who are likable or at least relatable to some degree. It's a basic concept that's lost on writer-director Max Heller's Born Guilty, a shrill urban relationship satire whose lead protagonists are so insufferably self-centered and whiny, there's little hope for redemption.
  19. Hover
    By the time the film reaches a third act low on logic and heavy on exploding heads, it's clear that "Hover" never had the right parts to take flight.
  20. Reprisal
    All in all, just another boring genre exercise.
  21. Andover
    This choppy film, which is saddled with a subplot about a dogged insurance agent (Richard Portnow), becomes more mechanical than emotional, leapfrogging time, logic and process as it scrambles to its too clever-by-half conclusion.
  22. Billy Boy
    Written by and starring a bleached-blond Blake Jenner, Billy Boy is ambitious in its structure, style and editing, but the final product is disjointed and irritating.
  23. Welcome to the Men's Group
    The endless sharing and chaotic conflicts that ensue among these largely uninviting men prove more tedious than convincing, with flashback bits that are more redundant than enlightening.
  24. Private Resort
    A numbskull comedy about a couple of guys (Rob Morrow, Johnny Depp) on the make at a resort hotel.
    • Los Angeles Times
  25. Destination Wedding
    Keanu Reeves and Winona Ryder may have worked together in the past (most notably in “Bram Stoker’s Dracula”), but Destination Wedding, a painfully indulgent anti-romantic comedy about a pair of miserable misanthropes who bond over their shared contempt of the universe, forces their screen chemistry well beyond any reasonable limits of tolerance.
  26. Yadvi - The Dignified Princess
    Unfortunately, while its intentions are as pure as the heart of its heroine, the biography offers little depth or insight into Yadvi. She is presented more as a flawless saint than a human princess in this drama mired in poor narrative structure and few details.
  27. Like a Boss
    If there’s one word to describe the girl-power comedy “Like a Boss,” it’s incomprehensible. Structurally, industrially, philosophically and emotionally incomprehensible. What should have been an easy breezy buddy comedy is rather a flabbergasting tone salad.
  28. 7 Splinters in Time
    Trying to straddle the space between “Primer,” “Dark City” and “Memento,” 7 Splinters in Time ends up a frustrating trip to no man’s land. Despite an ambitious premise and style, the neo-noir sci-fi indie is a fractured narrative that can’t achieve what its lofty ideas intend.
  29. Hooked
    Spotty acting and casting, many thinly drawn or over-the-top characters, weak stabs at humor, and some awkward editing and dialogue further undermine this well-intentioned effort.
  30. The Texture of Falling
    The film looks amazing, but the writing is painfully pretentious and the acting beyond stiff and amateurish, so it’s impossible to gain a foothold into this story.
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