Los Angeles Times' Scores

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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:
  1. Positive: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. Stealing Harvard
    It's so bad that you have to wonder whether Tom Green was looking for a project to match last year's "Freddy Got Fingered" -- Green didn't direct this turkey, but it surely is a contender for the bottom of the barrel award for 2002.
  2. Swimfan
    This predictable teenage take on the 'Fatal Attraction' formula goes from dumb to even dumber.
  3. City by the Sea
    Has trouble seeming real. Its back story, involving the sins of Detective LaMarca's own father, feels contrived and the eventual resolution is simultaneously shaky and too pat.
  4. 7 Days in September
    If ever there was a prime example of art bringing order out of chaos, it is Steven Rosenbaum's 7 Days in September. -- The result is a narrative at once personal, admirably coherent and, above all, heartening.
  5. In Praise of Love
    Godard has always made films that are as thrilling for their ideas and ideals as for the sheer beauty of their images; the difference here is that for the first time in years he's more interested in turning us on than in turning us off.
  6. Heartbreak Hospital
    A dreary indulgence. An unfunny satire set in the world of daytime soap opera, it isn't offensive enough to inspire passionate response.
  7. Mad Love
    Succeeds as a full-bodied diversion because it takes even its silly elements seriously. If you're in the mood for impressive castles and sumptuous costumes, torch-lit processions and decorative nudity, this is the place to turn.
  8. FeardotCom
    The story leapfrogs abruptly from scene to scene, and it makes such a mockery of narrative logic and continuity that the cast tends to look either baffled (Dorff) or as if they're trying to remain unrecognized.
  9. Agnivarsha: The Fire and the Rain
    This is a splendid example of contemporary Bollywood in which a director's sophisticated style and vision have been brought to bear on the beloved conventions of popular Hindi cinema.
  10. Crop Circles: Quest for Truth
    Turns out to be a film that's interesting in spite of itself. It's less an impartial investigation than an advocacy film, having been hijacked by the members of the "inner sanctum."
  11. Red Satin
    Belly dancing isn't always the most thrilling of dances, but it's a blast to see these women shaking and rolling because they're so thoroughly in charge of the male clientele and their own sexuality.
  12. Undisputed
    A compelling entertainment because of Hill and co-writer David Giler's adroit cinematic storytelling skills and the powerful presence of Wesley Snipes and Ving Rhames, whose talent and intelligence are as impressive as their physiques.
  13. Little Secrets
    Its greeting card look and feel aside, Little Secrets is an otherwise worthy family entertainment.
  14. Serving Sara
    Crushingly unfunny.
  15. Amy's Orgasm
    Julie Davis' story is fresh and amusing.
  16. How I Killed My Father
    Truly, there can be nothing as complex as the simplest human relationships, and nothing as satisfying as a film that understands that as this one does.
  17. S1m0ne
    Such a tedious Hollywood farce, so unpleasantly glib and relentlessly shallow, that Pacino's excessive performance is not even the worst thing about it.
  18. Gibel Otrara
    Shot in sepia, "The Fall of Otrar" is as exotic in look and feel as a Sergei Paradjanov fable but a lot more rambunctious and savagely humorous. Unfortunately, it is exceedingly hard to track and not surprisingly assumes the viewer is up to speed on medieval Central Asian history. [03 Feb 2005, p.E20]
    • Los Angeles Times
  19. One Hour Photo
    All too predictably, as if obeying some rule of genre, the director trades in his more involved ideas about alienation and voyeurism for an eruption of violence, then tags on some nonsense about marital fidelity.
  20. Long Time Since
    Porizkova and Sands seem too young for their roles, but then the film seems as timeless as a fable.
  21. Possession
    LaBute can't avoid a fatal mistake in the modern era: He's changed the male academic from a lower-class Brit to an American, a choice that upsets the novel's exquisite balance and shreds the fabric of the film, corrupting all of LaBute's good work and robbing it of the impact it would otherwise have.
  22. The Adventures of Pluto Nash
    It's not awful, but the high cost of a movie ticket these days seems like a steep price to pay for 90 minutes of air conditioning and production design.
    • Los Angeles Times
  23. Mostly Martha
    It's a drag how Nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding; there's a puritan, even punitive, cast to the way she sees her character, whose pathology she digs at with the tenacity of a truffle hound.
  24. Blue Crush
    Overcomplicates its plot and spends a lot of time floundering around in the shallow end.
  25. Katakuri-ke no kôfuku
    Long-winded and ultimately uninvolving.
  26. All My Loved Ones
    It is crucial when viewing All My Loved Ones, with its fine ensemble cast and well-evoked sense of time and place, to remember that it unfolds as a recollection of David, a boy of perhaps 10 in 1938.
  27. I'm Going Home
    By far the most approachable of the director's recent films, with an emotional depth that's true to life and a streamlined narrative that for long stretches barely contains a word.
  28. The Château
    Delightfully bittersweet culture-clash comedy. If what's funny is frequently hilarious, then what's nasty truly stings, and the film is honest enough not to tie up everything with a ribbon.
  29. Scarlet Diva
    It's a demented kitsch mess (although the smeary digital video does match the muddled narrative), but it's savvy about celebrity and has more guts and energy than much of what will open this year.
  30. Secret Ballot
    Secret Ballot, which has a rich, spare score by Michael Galasso that blends Eastern and Western motifs, is funny, provocative, well-paced and leaves a memorable bittersweet aftertaste.
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