Los Angeles Times' Scores

For 16,550 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 2.2 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:
16550 movie reviews
  1. Strangely entertaining.
  2. Isn't in league with the Nicholas Ray classic ("Rebel Without a Cause"), but in its ferocious energy and lead performances it's many cuts above most big-screen soap operas.
  3. Uptown Girls is more downer than upper.
  4. Director Dan Ireland and the Jermanoks strive for and achieve a light romantic comedy with humorous, fanciful plotting yet shaded by genuine tenderness and passion.
  5. Might have been offensive with its stereotypical, one-dimensional characters and Spanglish-laden "jokes" if it wasn't so utterly bland. With about as much flavor as iceberg lettuce, the movie really doesn't offer enough to get worked up about.
  6. Tremendous energy, outrageous humor, dazzling technical finesse -- and a numbing amount of violence, brutality, bloodshed and all-out savagery. It is downright depressing to think about all that vigorous cinematic artistry and expertise aimed so low.
  7. Biographies of living people are tricky if for no other reason than a biographer can sometimes feel protective of his or her subject. Berman and Pulcini obviously adore Pekar, but by not getting out of his head more often and taking him on his own harsh terms, they blow the chance to dig as deep as the source.
  8. An infectious knockabout kung fu comedy with amusing special effects combined with breathtaking stunts.
  9. Say what you like, think what you will, scoff if you have to (and you will definitely have to), but in the final analysis Kevin Knows Westerns.
  10. Manages to capture enough honest moments to make it watchable, but it's never really funny enough to recommend to anyone who's outgrown short pants and kneepads.
  11. A whole world can be fit into 76 minutes, and that's what the splendid documentary OT: our town manages to do.
  12. Whatever the reason, his riff on Le Divorce follows the original only in broad strokes, hewing to a similar plot with many of the same characters but without the wit, the barbs and the politics.
  13. With its stylized, near-surreal comic-book look and roots, The Princess Blade has all the makings of a cult film.
  14. Brown has expertly captured the exhilarating and terrifying experience of watching surfers attack waves so preposterously large and ridiculously beautiful they defy description.
  15. Though the film's second half has some good action moments, it never fulfills the promise of its earliest scenes.
  16. Turning ordinary life into movie magic is one of the most difficult, least-heralded challenges for any filmmaker. What makes Freaky Friday a charmer isn't how far-out things get for this mother and daughter, but how sweet and distinctly un-freaky a kid, her mom and their love for each other can be.
  17. Brent Sloan is the executive producer for the 87-minute Boys Life 4, each segment of which is polished, succinctly developed and well-acted. It deserves as warm a reception from audiences as its predecessors.
  18. The perfect summer tonic for mature audiences looking for sophisticated escape. It's filled with beautiful people in gorgeous, exotic locales.
  19. A stylish work from an accomplished, sophisticated filmmaker that bristles with intelligence and gleams with Scott's and Davis' multifaceted, astutely judged portrayals.
  20. Paymer and many others in a large cast are well-established players with strong credits, and they do the best they can to pump life into remorselessly glum material.
  21. Graced with performers who bring a purity of emotion to their work, the film is always dramatically convincing. There is a fundamental air of truth about it, a sense that, horrific though things seem, this is how it must have been.
  22. Scott's energy helps keep the movie going during its sluggish moments and animates its few bright spots, including a pleasurably dumb showdown on the dance floor of a gay bar.
  23. Nearly as unwatchable as it is unpronounceable.
  24. However caricatured a vision of female empowerment, Lara Croft exercises an irresistible tug not just on the adolescent male imagination but the 12-year-old female imagination as well.
  25. A triumph of quiet realism, a piece of sophisticated, subtle filmmaking that is both thoughtful and thought-provoking.
  26. Even Phoenix, an actor who can make an incestuous-minded Roman emperor seem sensitive, can't smooth over political nihilism this unsavory.
  27. Figgis certainly was after something different, but like "Timecode," in which four linked stories unwind in separate panels, Hotel proves to be a fundamentally insipid bid at experimental narrative.
  28. It is not as exceptional a film as the reality deserves, but with a story this strong and races this expertly re-created, it squeezes out a victory by being as good a movie as it needs to be. On some days, that is enough.
  29. An exhilarating celebration of the possibilities of love and friendship, and Lucía, Félix and Adrián could not be more likable.
  30. A good example of complex Hollywood wizardry placed in the service of sharp, intelligent family entertainment.

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