Los Angeles Times' Scores

Select another publication »
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
view
per page
  1. The Crossing Guard
    The Crossing Guard, Penn's second film behind the camera, is a troubling, troublesome movie whose makeshift structure cannot contain the powerful flood of passions that he and his cast have poured into it.
  2. Ace Ventura: When Nature Calls
    Yet, there is also little doubt that when it comes to extreme physical humor, Carrey is remarkably gifted, a throwback to the vintage antics of Jerry Lewis or even the slapstick gang of silent comedy.
  3. Mighty Aphrodite
    A sketchy trifle that is sporadically amusing but also off-putting around the edges.
  4. Home for the Holidays
    What results is a film with some bright spots but whose effect is finally as muddled and wearying as the event itself sometimes is.
  5. Fair Game
    Don't imagine there is any reason to see Fair Game.
  6. Leaving Las Vegas
    Beautifully put together, sensitively acted by Nicolas Cage and Elisabeth Shue, directed by Mike Figgis with assurance and style and making exceptional use of its musical score, this doomed romance is finally not as satisfying as all of that would have you believe.
  7. Copycat
    By having Sigourney Weaver and Holly Hunter play the maniacs' feisty antagonists, the filmmakers seem to believe that they've made a significant feminist statement, the movie's two hours-plus of almost continual sadistic abuse of women notwithstanding. Even in an industry known for self-delusion, that is quite a feat.
  8. Vampire in Brooklyn
    There isn't a moment of genuine suspense or tension in the film, and the paltry laughs are supplied not by Murphy but by Hardison, whose character, a lowlife Brooklyn habitue forcefully turned into the vampire's bug-eating sidekick, spends the entire movie moaning about his decomposing body and embarrassing the boss with his earthy patter. [27 Oct 1995, p.1]
    • Los Angeles Times
  9. The Doom Generation
    The Doom Generation plays like a low-budget Natural Born Killers -- and that is not intended as a compliment. [27 Oct 1995, p.F6]
    • Los Angeles Times
  10. Get Shorty
    The jokes are quick, with clever jibes alternating with double-crosses and the occasional murder, and the streamlined plot unrolls like a colorful ball of twine.
  11. Mallrats
    A numbing and dispiriting experience aimed at the least discriminating parts of the teen-age audience.
  12. Now and Then
    It's the younger women's movie, and they acquit themselves admirably, even if most of the creative energy in the film seems to have gone into the costumes and set design. It's too bad, but in a year when female bonding is all over the screen, and uniformly dreadful to watch, Now and Then merely continues the trend. [20 Oct 1995, p.F14]
    • Los Angeles Times
  13. Blue in the Face
    [The movie has] considerable charm and humor....Adam Holender's fresh, airy camera work and a vibrant electric score also add vitality to an all-talk film. [13 Oct 1999, p.F8]
    • Los Angeles Times
  14. Strange Days
    Days is loaded with effective visual razzmatazz, but what the eyes giveth, the ears taketh away. For whether it's the plot, the dialogue, the character development or the acting itself, anything that stands apart from camera style is a thudding disappointment.
  15. Jade
    Watching Jade is such a hollow experience it’s hard to work up the energy to dismiss it. A movie where the car chases have more personality than the people, its monotone acting and recycled plot make one wonder, not for the first time, how something this tired ever got made.
  16. Kicking and Screaming
    Baumbach surely does make these characters, all of whom are impeccably acted, absolutely real, but at 25 he may be too close to the material to achieve the detachment from which irony and meaning flow.
  17. Devil in a Blue Dress
    It's the film's glowing visual qualities, a striking performance by Denzel Washington and the elegant control Carl Franklin has over it all that create the most exotic crime entertainment of the season.
  18. Halloween: The Curse of Michael Myers
    The latest in a numbing series begun in 1978 by John Carpenter, and repeated five times since, with only a few plot and casting changes to detract from the brilliant slice-and-dice work of its masked hero. Mike may be getting older, but he can still sling a knife around like a chef at Benihana. [2 Oct 1995, p.F8]
    • Los Angeles Times
  19. To Die For
    The most accurate assault against the media age since "Network," To Die For's killer lines and wicked sensibility are given added poignancy by the off-center, sensitive performance of Joaquin Phoenix, River's younger brother, the only person more deluded about Suzanne than she is about herself.
  20. Showgirls
    Lacking the combustible Sharon Stone and Michael Douglas in leading roles, Showgirls descends into incoherent tedium. Though the filmmakers' incessant talk about vision, artistry and honest self-expression lead one to expect a sexually explicit biopic about the Dalai Lama, what is in fact provided is depressing and disappointing as well as dehumanizing.
  21. Seven
    Noticeable skill has gone into the making of Seven, but it's hard to take much pleasure in that.
    • 47 Metascore
    • 60 Critic Score
    Empire Records
    The sun can't set too soon on this "Empire." [23 Oct 1995, Pg.F9]
    • Los Angeles Times
    • 46 Metascore
    • 30 Critic Score
    Hackers
    All the sound and fury in the world can't disguise the fact that yowling music, typing montages and computer animation do not a gripping finale make. This movie megabytes.
  24. Unstrung Heroes
    Though Unstrung Heroes' thematic elements are uniformly strong, it is the film's treatment of Danny and Arthur that is especially impressive. [15 Sep 1995]
    • Los Angeles Times
  25. Clockers
    Clockers, Lee's eighth feature in nine years, demonstrates how accomplished a filmmaker he has become, securely in control of plot, actors and imagery.
  26. To Wong Foo Thanks for Everything, Julie Newmar
    Unconvincing and annoying, a miscalculation on numerous fronts, it is finally sugary enough to make the sentimental Priscilla play like a model of icy restraint.
  27. Nadja
    An elegant, witty but also sometimes tedious spin on the legend of Dracula.
  28. Kids
    Kids is more tedious than titillating, one of those cinematic irritations more interesting to read about than to see.
    • 44 Metascore
    • 50 Critic Score
    The Prophecy
    The Prophecy has an odd appeal that keeps you engaged, if only to find out just how strange it dares to get. Thomas, the cop who quickly unlocks the mystery, accepts everything that unfolds around him with little or no problem, but audiences will likely be filled with doubting Thomases. [04 Sep 1995, p.F6]
    • Los Angeles Times
  30. Desperado
    A weakly comic splatter movie oversupplied with jokey, cartoonish violence.
Page:

Top Trailers

See all »
See all trailers »