Los Angeles Times' Scores

For 16,526 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:
16526 movie reviews
  1. Dramatically thin, formally uninspired and thematically weak, The Last Ride really goes nowhere.
  2. Téchiné is a restless director, a fastidious storyteller who is not interested in what less adventurous movies have to say about human relationships. He wants to dig deeper, even if the results aren't always clear.
  3. Ted
    The comic targets run the gamut - race, religion, relationships, reality, etc. While nothing is sacred, the sacrilege comes with just enough sweetness to offset the salt.
  4. Life, however, cannot be lived entirely on stage, and once the characters have to take off their thongs and return to their real lives, the film goes nowhere that is either interesting, involving or surprising.
  5. Director Benh Zeitlin and his co-writer Lucy Alibar, a playwright whose "Juicy and Delicious" was the inspiration, have created characters that are wondrously indelible, distinctive of voice and set them inside a story that will unleash a devastating hurricane, and a flood of emotions, before it is done.
  6. Netanyahu's letters, read with sensitivity by actor Marton Csokas, help to fill in gaps with their vivid and thoughtful poetics, whether he's discussing the horrors of war, his nostalgia for Jerusalem in the '50s or his outsider's view of "empty, meaningless life" in the States.
  7. The film is driven by a we-are-the-world connectedness, but remains a travelogue in search of a defining center. The overall impression is as fleeting as much of the imagery that flashes across the screen.
  8. Brave simply doesn't feel as much like the Pixar movies we've come to expect.
  9. Starts imploding long before the massive asteroid hurtling toward Earth is due to deliver annihilation.
  10. Given the subject matter, an exercise in delicacy and restraint was unlikely, but it's too bad that the film's concept is way more entertaining than what has ended up on-screen.
  11. Campbell Scott's strong narration (well-written by Allentuck) and fun vintage musical selections effectively round out this provocative portrait.
  12. Much like the image of Wright presented by the movie itself, Wish Me Away is graceful, sincere and heartfelt.
  13. It is the achievement of Gerhard Richter Painting to shine a light on that hidden, private act as few other films have done.
  14. Even with a gripping subject like blues-singing convicts, the documentary Music from the Big House has a disconcerting emotional distance.
  15. Early on, it's tempting to dismiss the noir pastiche The Girl From the Naked Eye as a warmed-over pulp wannabe, what with the overwrought camera work and clichéd dialogue. But in its moments of sometimes comically violent antagonism, the movie shows some flashes of genre pizazz.
  16. "It is extremely difficult to be like a mountain, to create stillness in the middle of hell," is how Abramovic describes her task. The most resonant part of this surprisingly emotional film demonstrates how powerful this interaction is, how it expresses something that is no less moving for being, literally, beyond words.
  17. Blessed with unstoppable energy, an undeniably bawdy sense of fun and Tom Cruise in backless leather pants, it takes songs you may never have loved and turns them into a musical that's easy to enjoy.
  18. You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
  19. Weaver's last ditch attempt to upend rom-com convention and rewrite the movie as a skeevy lout's comeuppance hardly makes up for the clichéd slog that comes before.
  20. The film brings us vividly inside the life - and head - of its determined hero, Bud Clayman, as he depicts the process of what he calls "getting normal."
  21. It's not "On Golden Pond" by any stretch, but it is nice to have Fonda back in the fractious family way.
  22. Here that soul-baring, soul-searching is the centerpiece of the film. Unfortunately, not much else about Lola Versus matches that standard.
  23. Thurman, Meaney and Scott Thomas acquit themselves well, while Ricci's Clotilde is sweet yet posed. Pattinson, who has delivered some strong performances in non-"Twilight" fare, might be exploring the flip side of the Team Edward swoon factor but, finally, his Georges is merely vampiric.
  24. The animation artistry of Madagascar 3 is at its best under the big top, all cotton candy fluff and razzle dazzle. The character development of this edition is the best of the rest as well.
  25. Prometheus, unlike its predecessors, does not wear its themes lightly. It pushes too hard for significance, which is dicey in and of itself for genre material and contrasts badly with the standard nature of some of the story's plotting.
  26. Oslo is an example of strong, confident filmmaking in which nothing is miscalculated or out of place. Anchored by a devastating performance by Anders Danielsen Lie, this portrait of existential despair is beautifully made without being self-conscious about its art.
  27. A near complete exercise in mirthlessness and atonal satire, Cellmates is a sentence, all right.
  28. There's likely an audience for the cloying and dizzying hip-hop dance flick Battlefield America, but even the most forgiving viewers may feel like they've been underestimated - and underserved.
    • 66 Metascore
    • 70 Critic Score
    You can't cure what you don't understand is one of the film's sobering messages.
    • 46 Metascore
    • 60 Critic Score
    The result is far from evenhanded, but capable of raising important questions.

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