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. Without question, the whole thing's absurd -- this is, remember, about a guy stuck in a phone booth -- but for its first 40 minutes or so it's also mildly entertaining, fueled by the nuttiness of the setup and Schumacher's energy.
  2. Suffers from an overcomplicated plot, an overpopulated cast, a lot of corny humor and artificial contrivance, topped by a sluggish pace.
  3. A provocative political thriller that is as troubling today as when it came out in 1970. Maybe more so.
  4. Works well enough. It has a decided plus in its appealing young star, Amanda Bynes, last seen opposite Frankie Muniz in "Big Fat Liar."
  5. About as well-meaning as a movie can get, but that's never enough to ensure it comes alive on the screen, which is sadly the case here.
  6. Though it wasn't planned this way, it's an amusing exercise to view A Man Apart as an allegory for the war in Iraq.
  7. Demonstrates how exciting and vital contemporary animated filmmaking is in Japan. The characters may not move with the fluidity of their American counterparts, but the story unfolds with a sinister grace that any live-action director might envy.
  8. A crisp, elegantly resonant film.
  9. Both completely fascinating and intermittently frustrating; however, as with Fellini's own films, the downside is far outweighed by the pluses.
  10. Promising as it seems in theory, everything in this new version, like Lena Lamont's image in "Singin' In the Rain," falls apart as soon as the talking starts.
  11. Of course, James is exploiting Stevie, but the peculiar power of this film lies in James' indirect acknowledgment of it and his hope that his film has some point and value.
  12. A wonderfully eccentric piece of filmmaking -- to demand it cohere to formula would be to miss the point.
  13. If The Core finally has to be classified as a mess, it is an enjoyable one if you're in a throwback mood. After all, a film that comes up with a rare metal called Unobtainium can't be dismissed out of hand.
  14. Rock can't set up a decent-looking shot, and he doesn't care about niceties such as character development and all that narrative downtime in between jokes. But he nonetheless wrings biting humor from serious issues with the sort of ferocity that made Richard Pryor and Lenny Bruce men of respect as well as comedy.
  15. His film may be something of a beautiful lie, but what's true about Sollett's characters is that their dreams, their grace and their struggles are as real as it gets.
  16. So unashamedly confusing, so intent on piling twist upon twist upon twist, it makes your head hurt just trying to figure out what's happened.
  17. Anders Thomas Jensen's Flickering Lights may have been a huge hit in Denmark, but it doesn't travel well. A bleak male-bonding comedy that's a queasy blend of brutal humor and escalating sentimentality, it is overlong, heavy-handed, slow and unpersuasive.
  18. Director CB Harding captures the relaxed rhythms of the comedians while keeping the film well paced.
  19. Parents may find their attention wandering, but the simple tale contains valuable life lessons for their youngest offspring, who will likely be enchanted.
  20. Style is content in action movies, but when all the style originates elsewhere, it's just plain lazy.
  21. The music is sensational, the energy level high, and Down and Out With the Dolls is a wise and funny treat.
  22. Boat Trip is happily a no-holds-barred, all-out farce in which zany complications escalate rapidly and continually.
  23. Worth commenting on only for its shocking ineptitude.
  24. Wise, understated, warm and witty, it presents stars Michel Serrault and Mathilde Seigner in roles that fit them so perfectly they could have been tailor-made.
  25. Simultaneously jokey and scary, sentimental and ruthless, tediously everyday and grotesquely out of the ordinary.
  26. Some filmmakers give us dreams and false worlds in which we can find refuge. For others, though, like the young Mexican filmmaker Carlos Reygadas, the movies aren't an escape from the world but a way more deeply into it.
  27. The new Willard, which has taken the original's humanity and the psychological validity, leavened with a dollop of dark humor, and replaced them with a technically impressive but essentially heartless spoof.
  28. This splendid film is no mere polemic, for Rakhshan Bani-Etemad, often called the first lady of Iranian cinema, is above all an accomplished storyteller and dramatist who understands the evocative power of sound and image.
  29. What keeps you watching isn't the story or the actors, none of whom are at the top of their form, but the relentlessness of Friedkin's vision. The film has great forward thrust -- Friedkin's a full-throttle guy -- and the director knows where to put the camera.
  30. A clever and lively action-adventure with a warm sense of humor and smart dialogue that allows for an affectionate and fleet-footed satire of the classic elements of the Bond franchise.

Top Trailers