Los Angeles Times' Scores

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:
16524 movie reviews
  1. It’s a rare film that can dredge up nostalgic fondness for 2002’s awful “National Lampoon’s Van Wilder,” but Total Frat Movie manages to rise to the dubious occasion.
  2. What is semi-interesting — in a “huh?” kind of way — is how the Ferraras take various paranoid speculation from the darkest reaches of the Internet and weave it all into a barely coherent super-theory.
  3. It’s a maddening but ultimately uplifting tale about a fearless woman who fought tirelessly for her people.
  4. The beguiling documentary Chicken People proves that truth is not only stranger than fiction, but often more poignant and illuminating as well.
  5. Nothing in this gratifyingly focused movie feels excessive or gratuitous, and a situation that repeatedly threatens to spiral out of control is dramatized with the utmost assurance.
  6. Whether founder and conductor Favio Chávez has found deep-pocketed donors or is involved in constant fundraising efforts, the film offers no clue. But it leaves no doubt that Chávez’s visionary cause is one to celebrate.
  7. Most surprising are the involving performances of all concerned, but especially the pair playing the young lovers, actors with finely expressive eyes and faces.
  8. A beyond belief documentary.
  9. The movie tries to wrap an important social message in comedy, but it’s unpalatable all the way through.
  10. It might have set out to convey the disturbingly sadistic nature of institutional brotherhood, but it’s the familial variety with which “Goat” explores something ultimately more compelling.
  11. Humor here, whether situational or emotionally-based, proves a smart balance of grounded and loopy.
  12. Ultimately, there’s just nothing here that’s snappy or relevant. In tech-speak, this film is bricked.
  13. The film is most acceptable when it sticks to its beauty-and-beast dynamic. Even then it’s too dizzying and grandiose and the chemistry between the lead characters is pretty much nil.
  14. In ways both subtle and overt, the movie continually draws our attention to the human consciousness guiding every shot, the hand that is gently yet unmistakably manipulating the image.
  15. What starts as a cheeky lark about bad reputations and snazzy transformations never really gels into something truly funny or even appetizingly weird.
  16. The color riot, the polyester/shag décor and the cartoon portrayals detract. Girl Asleep thinks it’s a stylishly resonant fairy tale about identity when the primary takeaway is an exquisitely curated slide show.
  17. Like any pleasant surprise, this funny, frenetic, cheerfully nonsensical movie makes its own rules and gives you a few things that you weren’t, well, expecting.
  18. A sense of lethargy hangs uneasily over the lumbering new version of The Magnificent Seven. Despite its sturdy plot, seasoned director and capable cast toplined by Denzel Washington, Chris Pratt and Ethan Hawke, it arrives in a comatose state, a film unlikely to arouse passions one way or another.
  19. The movie offers hope in the form of a survivors’ network started by another maligned victim who attempted suicide.
  20. The ongoing clash between activism and politics played out on the ice floes of Atlantic Canada is penetratingly — and unflinchingly — portrayed in Huntwatch.
  21. Ultimately, When Two Worlds Collide has a breathless urgency to it, even if its structuring of events feels a bit ramshackle, and the directness of its environmental warnings feel no different than a thousand other message docs.
  22. Clear-eyed and urgent.
  23. This vital, heartfelt portrait lacks the visceral gut-punch needed to fully resonate.
  24. This odd friendship dramedy has its winning moments, thanks to a fine cast, including Eric Roberts and Marguerite Moreau, and a bold visual design that underlines the quirky and fantastical tone.
  25. Although he effectively establishes the downtrodden milieu, Lee’s script ultimately succumbs to mounting clichés and plot contrivances.
  26. Tom gradually chips away at the preening facade to seemingly unmask a complex woman whose self-image was largely shaped by her appearance-obsessed father. However, the deeper he digs, the more elusive his subject becomes.
  27. The ambitious but unwieldy screenplay suffers from a lack of cohesion and loses control of the nonlinear memories and fantasies of seven people, with some of the characters’ motivations also lost in the shuffle.
  28. Somehow Murphy manages to lift his dignified, all-knowing servant character off the page, giving a meticulously composed performance in a vehicle that can’t help but feel superficially repackaged.
  29. That Rabe (daughter of the late Jill Clayburgh and playwright David Rabe) proves so intriguing to watch is more a testament to her acting focus and stirring, lovely presence than to the dreary role she inhabits.
  30. It’s just a listless, routine exercise in religious horror, infused with a whiff of the exotic that tends toward the xenophobic. There might be a shred of entertainment to be found if only it were worse.

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