Los Angeles Times' Scores

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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:
  1. Positive: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. All or Nothing
    Leigh piles up woe wider and higher than ever before. That he has done so with his usual skill, perception and alertness to relieving gestures of human tenderness and care does not keep All or Nothing from being a pretty glum, overly familiar business.
  2. Roger Dodger
    It is Scott's work as the savagely articulate Roger, a tireless would-be seducer, bottomlessly self-confident and oblivious to rejection, that is the film's glistening and provocative centerpiece.
  3. Ghost Ship
    See evil. See evil run. Run, evil, run all the way to cable television purgatory.
  4. Jackass: The Movie
    At their best, they're closer to the Three Stooges; at their most banal, they're as original as the Red Hot Chili Peppers performing nude with socks on their penises -- It's a hoot.
  5. Derrida
    An absolutely first-rate documentary.
  6. Fidel
    Hitler had his Leni Riefenstahl, and now Castro has his Bravo...Bravo is no Riefenstahl when it comes to persuasive mythologizing.
  7. Le bossu
    Splendid entertainment, young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience.
  8. Under the Moonlight
    Overly preachy and maudlin but is saved by its obvious sincerity and forthright sense of purpose, and further enhanced by its rich color cinematography.
  9. The Business of Fancydancing
    A fervent assertion that an individual has the right to pursue his own path lies at the vibrant heart of The Business of Fancydancing.
    • 59 Metascore
    • 70 Critic Score
    Naqoyqatsi
    Much of this is involving, although the pace is so relentless that it leaves little time to breathe or grasp precisely what Reggio is attempting to say.
  11. Real Women Have Curves
    Honest and wise enough to strike the right bittersweet note.
  12. Abandon
    A trite psychological thriller -- all buildup and no payoff, a mystery that essentially offers only two alternative solutions, which diminishes the element of surprise and strings the viewer along way past caring which possibility proves to be true.
  13. The Grey Zone
    It isn't just that there's something unsettling about a film that aestheticizes a crematorium; it's that there's something trivializing about the very effort.
  14. Goyangileul butaghae
    There is a wonderful natural quality to Jeong's storytelling that is enhanced by cinematographer Young-hwan Choi's graceful camerawork and by a dynamic, contemporary score from M&F.
  15. Auto Focus
    In Auto Focus, the strangely wonderful and weirdly touching new film from Paul Schrader, the comedy and the tragedy keep getting mixed up.
  16. The Ring
    Certainly acceptable. But no one seeing it is going to feel as spooked as executive producer Roy Lee. To make an audience feel that intensely, you need a different kind of director and a different kind of film.
  17. Formula 51
    An execrable mess that leaves no genre cliché unturned or human body or soul untrammeled.
  18. Comedian
    What makes Comedian more than just another documentary about the comedy club comeback of a sitcom prince is that it contrasts his struggle with that of just another stand-up climber, Orny Adams.
  19. Brown Sugar
    Proves as appealing as its title.
    • 25 Metascore
    • 20 Critic Score
    Pokémon 4: The Movie
    There isn't much to Pokémon 4Ever.
  21. Knockaround Guys
    Certainly, Malkovich's portrayal of mob lieutenant Teddy Deserve (!) and his lacquered swagger represent the only thing here that you haven't seen a hundred times before.
  22. Below
    Has a slamming first hour. As Ian Wilson's camera darts over Charles Lee's spookily atmospheric sets, enigmas sprout like mushrooms.
  23. The Transporter
    The plot doesn't rate as high as the quality of the bodies in fast, furious motion. What counts in The Transporter isn't the wafer-thin story about smugglers -- it's the way Martin kicks open a door, fends off a couple of axes and uses a perfectly ordinary sport shirt as a weapon.
  24. Ash Wednesday
    Suspenseful and ultimately unpredictable, with a sterling ensemble cast.
  25. Punch-Drunk Love
    Charming and outlandish by turns, this misfit love story of disconnected people trying to find one another in an antagonistic world is a comedy of discomfort and rage that turns unexpectedly sweet and pure.
  26. Safe Conduct
    Superb -- Crammed with incident, and bristles with passion and energy. Tavernier treats his actors, every last one of them impressive, as an ensemble.
  27. Tuck Everlasting
    A sweeping romantic fable about love and mortality, targets an audience of girls in their early teens, but has been made with such skill and sensitivity that its appeal spans generations.
  28. White Oleander
    This is a film without a center, a film whose young protagonist should have more texture, more of a compelling voice than she does. Through no real fault of the acting, young Astrid does not compel our attention the way she must if White Oleander is to succeed completely on the screen.
  29. Bowling for Columbine
    Moore's concern about issues is genuine, and his showboating technique is often entertaining. But he is not the most organized person in the world, and there is a scattershot randomness about this film that is both its essence and a source of frustration.
  30. Swept Away
    Madonna may be better in this film than she's been in some of her recent endeavors, especially when she stops screeching her lines, but she's done herself no favors with her choice of material.
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