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. The Last Days of Disco
    Disco's exceptional acting ensemble is especially successful at capturing the brittle rituals of this specific group of genteel, well-spoken young people on the cusp of adulthood.
  2. Hope Floats
    A sharper edge could have taken a pretty good, if uneven, picture to greater heights, considering its potent ingredients and actors.
    • 69 Metascore
    • 100 Critic Score
    The Opposite of Sex
    A brilliantly written black comedy in the tradition of "To Die For" and "Flirting With Disaster," The Opposite of Sex was worth the wait.
  4. Bulworth
    Frequently awkward, peppered with moments that make you shake your head, Bulworth's singular nature makes it a film that can't be shrugged off.
  5. Godzilla
    An expertly designed theme park ride of a movie that packs nonstop thrills.
  6. The Horse Whisperer
    Robert Redford, who for the first time stars in a movie he's also directed, has taken this soap opera material and treated it like something inscribed on yak vellum by the Dalai Lama.
    • 64 Metascore
    • 50 Critic Score
    Clockwatchers
    Clockwatchers opens with fresh, quirky panache, but by film's end, those most closely consulting their watches may be those in the audience. [15 May 1988, p.F8]
    • Los Angeles Times
    • 50 Metascore
    • 60 Critic Score
    Quest for Camelot
    Unexpected fun. A brave young woman and a young hermit rescue King Arthur's sword, Excalibur, saving Camelot from an evil knight. With fluid, often beautiful animation, a deft, tuneful score and the voices of such notables as Gary Oldman, Cary Elwes and Jane Seymour, Eric Idle and Don Rickles. [03 Dec 1998, p.E]
    • Los Angeles Times
  9. Deep Impact
    The latest in Hollywood's almost biblical procession of disaster films, Deep Impact tries with moderate success to be more than just the sum of its special effects.
  10. Shooting Fish
    Not as inspired or amusing as it might be, leans heavily on the considerable charm of its three young and attractive principals. Their charisma and the film's larky spirit, English locales and elaborate cons might be just enough to divert easily satisfied date-night audiences.
  11. Wilde
    A work of superior craftsmanship, Wilde moves quite briskly, and the idea of approaching an unconventional life with a traditional narrative style pays off. [01 May 1998, p.F10]
    • Los Angeles Times
  12. Les Misérables
    An eager, earnest, broadly constructed pageant of ideas and characters whose greatest asset may be the service it pays to literature. [01 May 1998, p.F1]
    • Los Angeles Times
  13. Sliding Doors
    It may be Howitt's greatest achievement that we're able to keep the stories straight.
  14. The Big Hit
    That rarest of all genre hybrids, the screwball-romantic-action-situation-black comedy. Rare for good reason. Who'd want to see a thing like that?
  15. Two Girls and a Guy
    A small movie with some big moments and a lot of unfinished business.
  16. Suicide Kings
    Satisfying, unpretentious fun.
  17. Nightwatch
    Nightwatch is a seriously overcast B-movie with rote performances from everyone but Brolin, who gives James an edge of danger that says that if he isn't a killer, he will be.
  18. Species II
    The best advice to give anyone who wants to see Species II--other than "don't go!"--is "don't eat!"
  19. City of Angels
    A fascinating hybrid. A Hollywood fantasy at its most fantastic, the film is equal parts true innocence and shameless calculation. Deciding whether the glass is half empty or half full depends on which part you are willing to embrace.
  20. 3 Ninjas: High Noon at Mega Mountain
    Exceptionally well-made family entertainment, this 3 Ninjas is constantly inventive, action-filled and funny, with a flourish of good special effects.
  21. Sonatine
    In his sleek, punchy and altogether captivating Sonatine, Japan's fabled writer-director-tough guy star Takeshi "Beat" Kitano makes it seem as if we've never seen such a tale on the screen. In doing so, Kitano creates one of the most effectively anti-violence violent movies since The Wild Bunch. [10 Apr 1998, p.F10]
    • Los Angeles Times
  22. The Spanish Prisoner
    The Spanish Prisoner is the smoothest and most convincing of Mamet's elaborate charades and features intriguing performances by Steve Martin and Campbell Scott.
  23. Lost in Space
    This effects-loaded extravaganza has more trouble finding its dramatic bearings than the Space Family Robinson has in figuring out where the heck in the universe they are.
    • 44 Metascore
    • 40 Critic Score
    Barney's Great Adventure
    Barney looks both more real and more magical on video; on film, he's clearly a doofus in a felt outfit.
  25. Wild Things
    The movie has more twists than Chubby Checker, and as soon as you think Stephen Peters' script has used up every conceivable opportunity, it twists again.
  26. Primary Colors
    Such a smart and savvy piece of work it encourages us to feel we're eavesdropping on history.
  27. Taste of Cherry
    There's a strong elliptical quality to Kiarostami's style, which underlines the filmmaker's ability to maintain focus with considerable emotional force and depth and with great precision. [27 March 1998, p.14F]
    • Los Angeles Times
  28. Wide Awake
    Wide Awake is a wonderful family film that deals sensitively, and even with humor, with a fairly unusual situation for the screen: a 9-year-old's struggles with his faith in God. [20 Mar 1998, p.F10]
    • Los Angeles Times
  29. Fireworks
    Fireworks is bracing and original, an indefinable film made from familiar elements. "Hana-Bi," its title in Japanese, is a combination of the words for "flower" and "fire," and filmmaker Takeshi Kitano has, in the same way, adroitly fused genres, creating a film in which almost every moment pops out in unexpected ways. [20 Mar 1998, p.F4]
    • Los Angeles Times
  30. The Man in the Iron Mask
    Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
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