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. Outbreak
    It's a B-movie with A-accouterments.
    • 8 Metascore
    • 10 Critic Score
    The Mangler
    Hooper could have also made at least a token attempt to create one interesting or sympathetic character and shot more than one take per scene--even by horror standards, the acting here is lame. Call it "The Bungler."
  3. Once Were Warriors
    By choosing to bludgeon the audience with ever-worsening tales of woe, Once Were Warriors paradoxically blunts its power, though the truth is that people may be too shell-shocked to notice. [03 Mar 1995, p.F1]
    • Los Angeles Times
  4. The Brady Bunch Movie
    More successfully silly than non-Brady fans will expect.
  5. Heavyweights
    Disney's new kidpic Heavyweights plays it both ways: It says it's fine to be chubby and then goes ahead and makes all the usual chubby jokes. It's a case of having your hi-cal cake and eating it too. [17 Feb 1995, p.F4]
    • Los Angeles Times
  6. Just Cause
    If the movie had been about Sullivan it would have kept its viewers awake nights. But audiences for Just Cause will be able to sleep soundly, perhaps even catch a few winks in the theater.
  7. Billy Madison
    Director Tamra Davis and screenwriters Sandler and Tim Herlihy scatter the bad jokes like fertilizer. Nothing sprouts.
  8. The Quick and the Dead
    The Quick and the Dead is showy visually, full of pans and zooming close-ups. Rarely dull, it is not noticeably compelling either, and as the derivative offshoot of a derivative genre, it inevitably runs out of energy well before any of its hotshots runs out of bullets.
  9. Shallow Grave
    Director Danny Boyle and screenwriter John Hodge (who is a physician!) keep the action spurting forward, but their approach is oblique. We seem to be catching the odds and ends of scenes; it's as if the filmmakers wanted to make a movie in which all the expected high points were skimped.
  10. Boys on the Side
    It's so shamelessly obliging that just about every audience of whatever stripe will find something to like in it at least some of the time. It's a confoundingly enjoyable movie because, by all rights, it should be terrible.
  11. In the Mouth of Madness
    In the Mouth of Madness is a thinking person's horror picture that dares to be as cerebral as it is visceral.
  12. The Secret of Roan Inish
    Though its protagonist is a 10-year-old girl, it is a crackling good tale with a sense of wonder and mystery strong enough to captivate any age group. [03 Feb 1995, p.F1]
    • Los Angeles Times
  13. Before Sunrise
    There's nothing much to the movie, except for the amiability of the actors and the layers of feeling Linklater provides, but that's just almost enough.
  14. Highlander: The Final Dimension
    Highlander: The Final Dimension is elementary and vague, but this purportedly last installment works well enough on a comic book level. Music video veteran Andy Morahan, in his feature directorial debut, has the right idea: Go for as much energy, pace and visual panache as possible. [30 Jan 1995, p.F8]
    • Los Angeles Times
  15. Legends of the Fall
    Director Zwick orchestrates everything with welcome gusto, and though the result is not as meaningful as it would have you believe, it is undeniably pleasant to have this kind of production to kick around. [23 Dec 1994]
    • Los Angeles Times
  16. Nobody's Fool
    As always with Newman, we never quite feel he could have been as bad a guy as the script insists he was, he remains the reason to see Nobody's Fool. The film's various difficulties inevitably fade from memory, but his performance lingers, as the great ones always do.
    • 48 Metascore
    • 30 Critic Score
    Tales from the Crypt: Demon Knight
    Based on the quality of the screenplay alone, “Demon Knight” is strictly a direct-to-video affair; with “Tales From the Crypt” tacked to the title, the budget expands exponentially to accommodate state-of-the-art special effects--most of them featuring dismemberment, naturally.
  18. Ladybird Ladybird
    The power of “Ladybird, Ladybird” is inseparable from its weaknesses. Loach brings us up close to the misery but, in a larger sense, he stands back.
  19. Higher Learning
    Despite a weakness for trying to tie things up with melodramatic violence, Singleton remains a fluid filmmaker who works well with actors. He may not be there yet, but he is on the road.
  20. The Madness of King George
    As if to prove that the unlikeliest material can make for the best films, The Madness of King George, directed by Nicholas Hytner from Alan Bennett's prize-winning play, has taken this footnote to history and transformed it into one of the triumphs of the year--potent, engrossing and even thrilling to experience.
  21. Ready to Wear (Prêt-à-Porter)
    Not clever or polished enough to be successful as farce, unwilling to supply any reason to care about any of its characters, unable to make the points about the role of fashion in society it thinks it is, "Ready to Wear" is madness without the usual Altman method.
  22. I.Q.
    Matthau has the best role, but Robbins and Ryan are finally simply too good for their material, which is not nearly inspired enough to do justice to their talent.
    • 63 Metascore
    • 70 Critic Score
    The Jungle Book
    Jungle Book provides both rowdy thrills and old-fashioned family entertainment.
  24. Nell
    The strength of Foster’s spooky performance makes Nell more effective and worthwhile than it otherwise deserves to be. And it is just because we come to care about that unusual young woman that we wish she were in a better movie, but that was not to be.
    • 34 Metascore
    • 30 Critic Score
    Street Fighter
    If the story isn’t quite incoherent, then De Souza’s klutzy direction renders it so.
  26. A Man of No Importance
    Towering over one and all, not surprisingly, is Finney as the increasingly tormented but brave Alfie. [22 Dec 1994]
    • Los Angeles Times
  27. Mixed Nuts
    Mixed Nuts is a farcical whirligig that doesn't whirl. It's energetically unfunny, like "Radioland Murders," and, like that film, it boasts top-flight talent. Maybe the idea of making a comedy about a suicide prevention center just got to everyone-it's a bummed-out comedy about being bummed out. [21 Dec 1994, p.1]
    • Los Angeles Times
  28. Little Women
    Armstrong, screenplay adapter/co-producer Robin Swicord and their colleagues have got everything just right. [23 Dec 1994]
    • Los Angeles Times
  29. Richie Rich
    Richie Rich presents an irresistible Macaulay Culkin in a wonderful part and bursts with the gadgetry that many adults thrill to as much as children do. At the same time, it never loses touch with its humanity, directed by Donald Petrie with humor and panache.
  30. Disclosure
    The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
    • Los Angeles Times
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