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. If Aeon Flux is what Charlize Theron does to pay the bills while otherwise being engaged in "Monster" and "North Country," it's probably a reasonable price to pay. For her. For us? No, no, no.
  2. Felicity Huffman is such a wonder, at once funny and brave, playing a pre-op male-to-female transsexual in the uneven comedy Transamerica that she sustains several lapses that might otherwise have sunk it.
  3. As a result, what should have been a thrilling 90-minute sport adventure runs on for 20 more repetitive minutes. First Descent is exciting, but less would surely have been more.
  4. It is difficult to imagine anyone but Spheeris pulling off this movie, undercutting all mawkishness, bringing to it nuance and shading, not to mention wit. The result is an enjoyable family movie.
  5. Brown's engrossing and poignant documentary on Van Zandt, is filled with appearances by celebrated performers who are simply fans of this legendarily troubled figure with the aching voice and haunted Lincoln-esque look.
  6. A moving, troubling documentary. Moving because of the nature of the problem it explores, troubling because the film can't help but underline that simple solutions are never going to present themselves, no matter how much we want them to.
  7. Down to the Bone emerges with an aura of authenticity so strong as to be mesmerizing, thanks to a superior script brought to life with infallibly natural performances.
  8. As it is, Mrs. Palfrey seems to suggest the Claremont is located somewhere in the Twilight Zone. Where are the televisions? Where are the chain stores? Where are the immigrants? I see the buildings, but where is England?
  9. A droll, dark Christmas treat for adults, a delightful alternative to the usual holiday-themed fare.
  10. A jumble of genres including mob melodrama, bodyguard romance and interracial love story, none of which is handled in a remotely satisfying manner by director Ron Underwood. The film's tone shifts with all the grace of a car with a balky transmission.
  11. This is a standard-issue gross Hollywood knockabout comedy in which slapstick antics have been piled up with a steam shovel and driven home with a sledgehammer. Reynolds and Smart are game and even dimensional, but all others are stuck playing tiresome, obnoxious characters.
  12. Rent is commodified faux bohemia on a platter, eliciting the same kind of numbing soul-sadness as children's beauty pageants, tiny dogs in expensive boots, Mahatma Gandhi in Apple ads.
  13. Synthetic, strained and noisy, Yours, Mine & Ours is a clinker that doesn't bear comparison with the original. Quaid, Russo and others deserve better.
  14. A trying experience. As we watch Rochester fall apart in spectacular fashion, it's clear that a major lure for the venturesome Depp was the chance to play a grotesque, to become a pestilent physical wreck with an artificial silver nose. There's more in that role for the actor, however, than there is for us.
  15. A fearless and ambitious piece of work, made with equal parts passion and calculation, an unapologetically entertaining major studio release with compelling real-world relevance, a film that takes numerous risks and thrives on them all.
  16. Even though it is ultimately anything but an endorsement for street racing, the movie stunningly captures its undeniable excitement.
  17. A heart-tugger that, although highly inspirational, has a strongly orchestrated quality.
  18. It's not until Harry Potter and the Goblet of Fire that a film has successfully re-created the sense of stirring magical adventure and engaged, edge-of-your-seat excitement that has made the books such an international phenomenon.
  19. The movie is less an uncharted journey than a 2 p.m. bus tour of a music industry legend. But like an expert guide, Mangold shepherds the story with enough grace, energy and skill to make it worthwhile.
  20. Blackmail Boy reaches for tragedy but settles for soap opera.
  21. Perhaps inevitably bleak and grueling, Private is also involving and provocative -- and critical of Israeli treatment of Palestinians in an effectively understated manner.
  22. To come across Classe Tous Risques is like discovering a bottle of marvelous French wine you didn't remember you had, opening it and finding it every bit as delicious as its reputation promised. That's how good this classic fatalistic French gangster film is.
  23. In the end, his (Patrick) disaffection make him a singularly uninvolving character, and his disengagement makes him seem alternately shallow, selfish and perverse.
  24. Suffused with a painterly tenderness and cruelty, the French film Gilles' Wife - based on a 1937 Belgian novel by Madeleine Bourdouxhe - stars the extraordinary actress Emmanuelle Devos.
  25. Written, directed and acted with real compassion and sympathy for the humanity of its characters, no matter who they are or on what side of these multiple issues they turn out to be.
  26. Deliberate silliness is hard to sustain, but Undertaking Betty pretty much succeeds.
  27. With outstanding performances, including a turn by Judi Dench as the evil Lady Catherine de Bourg, Pride & Prejudice is a joy from start to finish.
  28. Derailed seems to want badly to be described as contemporary noir. But it's just pitch-dumb.
  29. The movie has a lot of the elements that might make it thrilling and it's visually arresting, but it's missing the emotional connection necessary to make it interesting.
  30. With the help of clear direction and some excellent acting, especially from Flora Cross in a memorable debut as Eliza, Bee Season is affecting in ways that movies have all but given up trying to be.

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