Los Angeles Times' Scores

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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:
  1. Positive: 8,699 out of 16526
  2. Mixed: 5,810 out of 16526
  3. Negative: 2,017 out of 16526
16526 movie reviews
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  1. In Paris
    Moody, mannered and supremely irritating, Christophe Honoré's Dans Paris plays like a pastiche of French cinema clichés through the ages.
  2. The Bourne Ultimatum
    It says something about Paul Greengrass' directing style that he's able to make a movie as fresh and frank as The Bourne Ultimatum from a genre as moldy and bombastic as the spy thriller.
  3. The Ten
    David Wain, director of "Wet Hot American Summer," brings his popular brand of surrealist yet mundane humor to the big screen with more or less dreadful results.
  4. Becoming Jane
    It's neither very original nor very convincing. "Shakespeare in Love" did something similar by casting its writer protagonist as the hero of a story he himself might have written, but Becoming Jane lacks that movie's wit and playfulness.
  5. La faute à Fidel!
    Blame It on Fidel is the thoroughly engaging, clear-eyed and charming story of a little girl grappling with the domestic fallout of tumultuous political times.
  6. Bratz
    It's a movie on the wrong side side of the so-bad-it's-good line.
    • 43 Metascore
    • 70 Critic Score
    Hot Rod
    A cheekily fun sendup of Gen X iconography.
    • 37 Metascore
    • 50 Critic Score
    If I Didn't Care
    There's murder, deception, cruel twists and plenty of scenes at night in If I Didn't Care, but writer-directors Benjamin and Orson Cummings lack the fatalistic glue of true film noir to hold it all in place.
    • 37 Metascore
    • 30 Critic Score
    Underdog
    Director Frederik Du Chau's big-screen Underdog has all of the cartoons' crudeness and none of their charm. It's the celluloid equivalent of sugar cereal: cheap, empty and headache-inducing.
  10. Gandhi, My Father
    Exposes director Khan's stage roots -- he has no feel for the close-up, although his use of the frame itself, and negative space, is occasionally thrilling.
  11. Laura Smiles
    As Ruscio piles it on, he gets himself further and further away from any sense of genuine emotional truth.
    • 89 Metascore
    • 90 Critic Score
    No End in Sight
    The result, narrated in a grave monotone by Campbell Scott, is a catalog of horrors so absurd and relentless it verges on farce, or Greek tragedy.
  13. No Reservations
    The movie feels stubbornly, resolutely disingenuous and one-dimensional. Everything in it isdesigned to make you feel better, so why does it feel artificial and palliative in that really depressing way?
  14. The Simpsons Movie
    In some ways, it reminded me of the final "Seinfeld" episode. As much as I laughed throughout, I kept wondering what was with all the emotional lessons.
  15. This Is England
    The writer-director brilliantly juxtaposes the personal and the political, bookending a stirring coming-of-age drama with the provocative opening and an equally affecting end sequence.
  16. Arctic Tale
    Reinforcing the adage that looks aren't everything, the live-action animal drama Arctic Tale arrives in an impressive visual package and even boasts a timely message, but its undistinguished storytelling is a big letdown.
  17. Cashback
    Writer-director Sean Ellis more-or-less successfully expands his Academy Award-nominated 18-minute short to full length, showcasing his talented young cast to good effect.
  18. Goya's Ghosts
    Lavish production and wardrobe design, as well as beautiful cinematography by Javier Aguirresarobe make Goya's Ghosts lovely to look at, but as a portrait of the artist, the movie is a letdown.
  19. Hairspray
    What it offers isn't really a nostalgic look at a "more innocent time" so much as a saucy wink at a casually vicious time that is constantly being sold to us as innocent.
  20. I Now Pronounce You Chuck & Larry
    Fails to deliver on its main promise of big laughs, which is the film's truly unforgivable sin.
  21. Sunshine
    For though it can't maintain its momentum all the way to the end, Sunshine until it stumbles is gratifyingly far from the usual space-opera stuff.
  22. Live-In Maid
    What Live-in Maid offers is a pitch-perfect observation of life on a continent where forms are adhered to, distances aren't really kept, and your best friend is the person who knows to pour the cheap domestic whiskey into the empty bottle of imported stuff before your bridge buddies show up to judge you.
  23. Interview
    For a film that unfolds mostly in a single location, Interview manages not to feel like a stage piece. But the premise, which may have worked in Holland, gets a little lost in the American translation.
  24. My Best Friend
    Too serious to be an out-and-out comedy, too funny not to be one, My Best Friend is a lot easier to enjoy than to classify.
  25. Talk to Me
    With its R&B soundtrack and footage of civil unrest, Talk to Me might seem to cover familiar ground. But as an intimate portrait of the complex, fruitful and extremely volatile friendship between trailblazing African American men whose daring came to redefine an industry, it's fresh and revelatory.
  26. Tekkonkinkreet
    Arias has a tendency toward creative overkill, mostly in the climax that renders with apocalyptic imagery the metaphysical consequences of Black and White's separation.
  27. Captivity
    It's the movie business equivalent of encountering someone you once knew begging for money on the street.
  28. Harry Potter and the Order of the Phoenix
    It finally can't transcend the limitations inherent in being no more than a way station in an epic journey, a journey whose cinematic conclusion is several years away.
    • 65 Metascore
    • 60 Critic Score
    Drama/Mex
    Skipping from one story to another and scrambling their relative chronologies, Drama/Mex presents a flashy package, but that only reveals the paucity of its ideas.
  30. Joshua
    Seductive and creepy, perfect for a hot summer night when nobody has the energy to pose a lot of questions.
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