Los Angeles Times' Scores

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For 16,520 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: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Apt Pupil
    Despite the riveting performances of Renfro and McKellen, we're left with classic horror-movie sociopaths, evil-doers without conscience, or much to say about the nature of evil.
  2. Orgazmo
    Blissfully outrageous.
  3. The Cruise
    The Cruise validates beautifully a life that is its own validation.
  4. The Last Days
    What these five and others have to say may be familiar to many by now, but the experiences they lived through are so terrible and told in such riveting detail it’s as if you’re hearing about the Holocaust for the first time.
  5. Happiness
    Solondz's filmmaking style tries to make a virtue out of flatness and distance, and is always more comfortable indicating where feelings would go than actually providing them.
  6. Beloved
    Beloved is ungainly and hard to follow at times, like the proverbial giant not quite sure how to best use its strength. But that power exists, present and undeniable, and once this film gets its bearings, the unsentimental fierceness of its vision brushes obstacles and quibbles from its path.
  7. Practical Magic
    It just doesn't add up to anything -- or break down -- to anything special. For good or bad, there's hardly a memorable scene in it.
  8. The Sentinel
    A complex and truly original film. [19 Jul 1993, p.F7]
    • Los Angeles Times
  9. Slam
    Levin brings to "Slam" a raw, impressionistic style that expresses its highly charged emotions effectively and goes a long way to offset that there's not much in the way of traditional-style character development. [21 Oct 1998, p.F5]
    • Los Angeles Times
  10. What Dreams May Come
    Watching it is like being in a room with a couple locked in a torrid embrace. It might be fun for them, but what's in it for everyone else?
  11. A Night at the Roxbury
    Kattan and Ferrell do their best to fill out the shallow Butabis.
  12. Antz
    Brief enough, clocking in at 83 minutes, but its story is too predictable to make an impact even in such a short space. Unlike "Toy Story," the dialogue here, written by Todd Alcott and Chris & Paul Weitz, is pro forma all the way.
  13. I Stand Alone
    Gaspar Noe's I Stand Alone has an exhilaration that comes from looking at life at its meanest so unflinchingly that you can actually be amused by the absurdity of the human predicament. [07 May 1999, p.F6]
    • Los Angeles Times
  14. Clay Pigeons
    "You've got a sense of humor, I like that," Lester Long proclaims at one point. Well, we all like that, but would it be asking too much to have a little coherence to go along with it?
  15. Ronin
    It's a welcome throwback to the days when the world didn't have to end or tanker trucks explode to get an action audience's attention.
    • 35 Metascore
    • 30 Critic Score
    Urban Legend
    A low-voltage drive-in movie, made strictly by the book.
  17. Pecker
    Think of writer-director Waters as the Frank Capra of an alternate universe and this film as his genially twisted version of "It's a Wonderful Life," and you'll begin to understand.
  18. Monument Ave.
    Mike Armstrong's relentlessly downbeat script allows Demme to develop an ensnaring camaraderie coupled with a dark destructiveness that recalls Eugene O'Neill.
  19. One True Thing
    One True Thing demonstrates that the power of simple things, the transcendent nature of the ordinary, can make for riveting filmmaking.
  20. Rush Hour
    Rush Hour effectively teams Jackie Chan and Chris Tucker in a formulaic but funny action comedy that should please fans of both stars.
  21. A Soldier's Daughter Never Cries
    Somehow, against considerable obstacles, it has captured something true about families and friendship, creating a texture of believable emotions on screen.
  22. Permanent Midnight
    Permanent Midnight's Hollywood segments are clever and amusing, but the more Stahl's life unravels in his demeaning search for drugs, the more the film inevitably goes down along with it. Watching Stahl searching frantically for an unused vein in his neck with a baby fussing next to him (don't ask) may be unnerving, but it is far from irresistible.
  23. Rounders
    Like Malkovich's out of control Russian accent, Rounders ends up reaching a place too hard to understand and even harder to believe in.
  24. Simon Birch
    Johnson, on his maiden voyage as director, treats every scene as if it were a bonbon, almost too precious to consume, and Marc Shaiman's score is a running series of mood cues.
  25. Cube
    Even though there are tedious stretches with less-than-riveting characters, the film gradually pulls you into its claustrophobic spell and becomes acutely suspenseful in its final half-hour.
  26. Knock Off
    It's fast, light and funny and not top-heavy with special effects and epic-scale destruction.
  27. 54
    Decadence has rarely looked so pathetic, lethargic and dispiriting as it does in this listless film.
  28. Dead Man on Campus
    Under Alan Cohn's straight-on direction, the film, written by various hands, huffs and puffs mightily just to keep a strenuously labored plot going.
  29. Your Friends & Neighbors
    It once again confuses a kind of juvenile titillation with insight and treats the ability to make audiences squirm as a pinnacle of film art.
  30. Next Stop Wonderland
    Smart and beguiling, it manages the impressive feat of believing wholeheartedly in the power of love without checking its mind at the door.
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