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. Overly preachy and maudlin but is saved by its obvious sincerity and forthright sense of purpose, and further enhanced by its rich color cinematography.
  2. 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
    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.
  3. Honest and wise enough to strike the right bittersweet note.
  4. 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.
  5. 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.
  6. 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.
  7. In Auto Focus, the strangely wonderful and weirdly touching new film from Paul Schrader, the comedy and the tragedy keep getting mixed up.
  8. 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.
  9. An execrable mess that leaves no genre cliché unturned or human body or soul untrammeled.
  10. 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.
  11. Proves as appealing as its title.
    • 25 Metascore
    • 20 Critic Score
    There isn't much to Pokémon 4Ever.
  12. 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.
  13. Has a slamming first hour. As Ian Wilson's camera darts over Charles Lee's spookily atmospheric sets, enigmas sprout like mushrooms.
  14. 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.
  15. Suspenseful and ultimately unpredictable, with a sterling ensemble cast.
  16. 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.
  17. Superb -- Crammed with incident, and bristles with passion and energy. Tavernier treats his actors, every last one of them impressive, as an ensemble.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. A seamless model of form and content. (My only quibble is the poor quality of the digital video, which doesn't do justice to Johnson's work.)
  23. This animated retelling of the familiar Old Testament story is playful, high-spirited and unmistakably amusing. It's nice to see that a sense of humor and a sense of values don't inevitably have to cancel each other out.
  24. Doesn't have the courage of its conceit, only an abundance of bad ideas and worse taste.
  25. Smart, sweet and playful romantic comedy.
  26. There isn't much else to the film beyond slapstick antics and professional gloss, but the results are diverting enough, in great measure because it's essentially a scene-by-scene remake Mario Monicelli's 1958 satire, "Big Deal on Madonna Street."
  27. Once positions hardened, tragedy was all but inevitable, and Bloody Sunday" does the spirit of that awful day full and unforgettable justice.
  28. There's no freshness here, no sense of newness or discovery. In its place, there's an earnest desire not to drop the ball, a determination to risk as little as possible in keeping this golden egg from cracking wide open.

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