Los Angeles Times' Scores

For 16,522 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:
16522 movie reviews
  1. A film of stunning impact.
  2. A triumph for all concerned, it is especially so for the multitalented Chereau.
  3. In his knockout directorial debut writer Kevin Williamson taps into such universal memories with his shrewd and energetic dark comedy.
  4. Halloween: H20 is as stylish and scary as it is ultra-violent. It's a work of superior craftsmanship in all aspects.
  5. The combined intensity of these two performances (Jones and Blanchett) obliterates objections and raises the stakes in what might otherwise have been a standard western.
  6. A wild at heart, anarchic comedy that believes in living dangerously.
  7. Remains a timeless, major work of a master.
  8. A delicious and delicately funny look at the residents of a Copenhagen neighborhood coping with the befuddling complications life tosses at them.
  9. This is an intelligent epic told without special pleading, a film able to cut deep enough to reveal a keen specificity of experience.
  10. A handsomely mounted, graceful production that is well-played across the board.
  11. It's just that when a movie is this close, with so much of the sports flavor (co-producer Thom Mount is co-owner of the real Durham Bulls), you like to see it perfect. [15 June 1988]
    • Los Angeles Times
  12. We may have seen it all before, but when it's done up like this, experiencing it all over again is a pleasure. [16 June 1999, Calendar, p.F-1]
    • Los Angeles Times
  13. Aside from superb ensemble work from an 18-member cast, "Together's sense of human potential is its greatest pleasure.
  14. Charming, disarming and in some ways humbling film.
  15. Boldly structured, intensely focused and briskly paced, Alice and Martin has a tremendous emotional density that places the utmost demands upon its actors--and asks a lot of audiences, too.
  16. A wholly unexpected film, as heady and surprising in its humor as in its emotional texture.
  17. As the film, with its haunting score and inspired use of popular music, builds flawlessly to its resounding conclusion, it is accompanied by a pitch-dark humor that grows out of the sheer absurdity of the city's daily body count.
  18. It is such a grand, romantic entertainment that it sweeps the viewer along in its swiftly escalating suspense.
  19. An expertly designed theme park ride of a movie that packs nonstop thrills.
  20. A martial arts valentine to the power of fighting women. It's a slick and delirious Hong Kong action film.
  21. This remarkably revealing and timely film, in which the depiction of pain and sorrow is suffused with a sense of beauty and a graceful, flowing style, more than lives up to glowing advance notices.
  22. For so brisk and entertaining a film, sharp in its observations but light in its touch, Cooking has unexpected substance and is a formidable accomplishment in that it brings dimension to its nearly 40 principal characters.
  23. A provocative political thriller that is as troubling today as when it came out in 1970. Maybe more so.
  24. Records an accident while it's happening, revealing a situation that makes you laugh again and again while weeping, metaphorically at least, for the sheer frustration of it all.
  25. It's a rich, emotional story, a wonderfully appealing film made with humor and intelligence, but there is also something almost magical about how it takes the stuff of innumerable previous films -- love, romance and adolescent coming of age -- and turns them into something that feels one of a kind.
  26. There are all sorts of ways to look at The Son -- as a philosophical thriller, as a statement of faith, as a call to political arms or just as a terrific entertainment.
  27. The Umbrellas of Cherbourg has stood the test of time as beautifully as Deneuve and seems likely to enchant future generations as fully as it has audiences over the past four decades.
  28. It's a laff riot that also contains a torrent of scathing social satire that couldn't be more timely in light of the dismantling of affirmative action.
  29. An exquisite period film from a script Akira Kurosawa did not live to direct. It has a softer edge than the master probably would have delivered, but it is deeply affecting.
  30. A smart, lively and unpretentious exploitation picture...Consistently funny and clever.
  31. This graceful and wise film moves to its denouement with subtlety and, at its end, strikes a note that seems just right for all that has gone before.
  32. Insomnia shows an equally welcome ability: a gift of creating intelligent, engrossing popular entertainment.
  33. That rare movie that completely fulfills its admittedly modest aims.
  34. Being able to hear this kind of playing is a special moment in time, one we don't want to end and one that we're privileged to experience.
  35. It takes two to be sisters, two to have a rivalry, and two exceptional actresses to turn Hilary and Jackie into a compelling look at the most intimate and troubling of family dynamics.
  36. Pi
    It is a brilliant intellectual adventure that fans of bold independent filmmaking will want to experience, even though the ending is something of a letdown.
  37. 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.
  38. A film of exceptional emotional honesty.
  39. An across-the-board delight featuring a spot-on ensemble cast that treats the most awkward and embarrassing moments in the rites of passage with affectionate hilarity.
  40. Bristling with shrewd observation, inspired humor and all-around smarts, Office Space is a winner about a guy who's beginning to feel like a loser.
  41. Haneke illuminates beautifully the lives of his people with an eye for the revealing nuance and detail.
  42. The Piano Teacher will surely be too strong for some audiences and is best left to those who like films that take big risks and get away with them.
  43. Smart and stylish, Disney's Teacher's Pet is one family film that has appeal for adults as well as children.
  44. Although there is real pain and suffering in It All Starts Today, it is too impassioned, too brisk and too embracing of life and human foibles to be depressing.
  45. Here, the message is the moviemaking and the unparalleled joy you get from a film that can carry you off so completely, making you forget about everything save for the beautiful lies in front of you.
  46. 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.
  47. For an American film it is a groundbreaker in exploring the realm of sexual fluidity, and it does so with wit, wisdom and in a completely entertaining fashion.
  48. Artfully, even elegantly constructed, Secret Lives skillfully probes issues of conflicting emotions and allegiances in a dark time, yet emerges as a loving affirmation of humanity's remarkable potential for goodness in the face of pervasive evil.
  49. The jokes would be funny even if they weren't perfectly timed, but what makes them come across as so poignant is the seriousness with which the director and his co-conspirators deliver their jabs and japes.
  50. 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.
  51. It's sensational in both senses of the word: a bravura, provocative sendup of horror pictures that's also scary and gruesome yet too swift-moving to lapse into morbidity.
  52. It's no thigh-slapper like the Rodney Dangerfield's "Back to School," but it's exceptionally good-natured and perceptive, and Harmon, in his first starring screen role, is a real charmer. [22 July 1987]
    • Los Angeles Times
    • 68 Metascore
    • 90 Critic Score
    It's a nearly pitch-perfect melding of genres, influences and modes of expression--it's the first Mafia movie for the hip-hop age.
  53. Twenty-four years later -- digitally spruced up, with some scenes shaved and others padded with previously cut material -- Scott's film still shreds nerves.
  54. Blood Simple becomes a dazzling comedie noire, a dynamic, virtuoso display by a couple of talented fledgling filmmakers who give the conventions of the genre such a thorough workout that the result is a movie that's fresh and exhilarating (in the way that Jean-Jacques Beineix’s “Diva” was).
  55. Once positions hardened, tragedy was all but inevitable, and Bloody Sunday" does the spirit of that awful day full and unforgettable justice.
  56. Handsome as all Allen films are, and it proceeds with the brisk, sophisticated air of throwaway confidence and lack of pretense that we expect from the contemporary master of grown-up comedy.
    • Los Angeles Times
  57. Never loses its priceless stamp of individuality. Reduced to its essence, this is a joke told by a person, not a corporation--and that makes all the difference.
  58. Moll, in only his second feature, evokes a sense of foreboding, playing the routine against the unnerving, the humorous against the sinister, with a wit and deftness that might have impressed Hitchcock.
  59. Director Demme has done other potent and meaningful films, but The Agronomist defers to none of them in its effectiveness and its power.
  60. The creators of the magnificent Balseros stayed involved with its subject, a group of Cuban boat people who made it to the United States, for a full seven years. If you put in that kind of time, you witness life happening in front of you in all its compelling, confounding drama. What could be better than that?
  61. A remarkably thoughtful drama, Lantana makes it clear not only how hard to come by any emotional comfort is in this life, but more important, why we can't give up on the struggle.
  62. Biting and vicious, a styptic pencil on the battered face of "civilized divorce." It's also thoughtful, laceratingly funny, and bravely true to its own black-and-blue comic vision. [8 Dec 1989]
    • Los Angeles Times
  63. The more things change, the more we have to laugh if we are to have a prayer of remaining sane, and the Pythons are the best possible step in that direction.
  64. A fast and furious action-adventure. The film's comedy counts for as much as the clever and risky ways in which Wahlberg and company go after the nasty Norton, who has holed up in a Bel-Air mansion with a world-class security system.
  65. Exuberant and insidiously funny satire.
  66. The vigorous Bang Rajan moves with a sure sense of direction and authority to its major culminating battle, a singularly savage and wrenching encounter that for all its bloodshed is never exploitative and concludes the film on a resounding note of tragic grandeur.
  67. A dead-on tale of corporate power, courage, cowardice and how we live.
  68. Amazing, rich in authentic period atmosphere and detail, an ever-changing cyclorama of a movie.
  69. His film may be something of a beautiful lie, but what's true about Sollett's characters is that their dreams, their grace and their struggles are as real as it gets.
  70. A wholly enveloping experience. Gentle, ravishingly beautiful and awash in everyday sensuality, it so intoxicates you with the elegance and refinement of its filmmaking that even noticing, let alone caring, whether it has a plot starts to seem beside the point.
  71. At a time when so many in this country are at odds about what represents America at its best, it's refreshing and then some to see a film that everyone can agree is an example of exactly that.
  72. Not just an especially subtle and thoughtful psychological drama, it's a provocative, even an unnerving one as well.
  73. If there is one moment in The Language of Music that will thrill old rock fans, it's watching Dowd, his fluid hands moving with a surgeon's grace, remix for the film's benefit the 24-track sub-master of "Layla."
  74. Exuberant and pitiless, profane yet eloquent, flush with the ability to create laughter out of unspeakable situations, Trainspotting is a drop-dead look at a dead-end lifestyle that has all the strength of its considerable contradictions.
  75. It's sexy, brainy and slightly nuts.
  76. What results is a thoughtful, analytical yet still emotional film, meticulously investigated and absolutely compelling.
  77. Terrific escapist fare, stylish, outrageous and compelling.
  78. It's Patinkin who scores a special triumph. In his role there's a poignant strain of weariness beneath the leaping bravado, a pain under the braggadocio. [25 Sept 1987]
    • Los Angeles Times
  79. If Asian martial arts movies interest you even a little bit, you're going to want to see Iron Monkey. Not only that, you're going to want to see it more than once.
  80. Its charming story of the delicate intersection of three highly individual lives is the kind of completely personal yet universal film that the festival and the entire independent movement came into being to celebrate. And it does it all in 88 deft and funny minutes.
  81. A sparkling romantic comedy, the kind of picture that glides by so gracefully and unpretentiously that it's only upon reflection that you realize how much skill, caring and good judgment had to have gone into its making.
  82. There is a wonderful natural quality to Jeong's storytelling that is enhanced by cinematographer Young-hwan Choi's graceful camerawork and by a dynamic, contemporary score from M&F.
    • 72 Metascore
    • 90 Critic Score
    From its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale, "Martin" is a masterfully conducted work.
  83. In a sea of one-note symphonies, this touching feature is bleak and comic, heartbreaking and affirmative, romantic and tragic, gimlet-eyed and sympathetic, all at the same time.
  84. Alternately satirical and romantic, full of pain and humor, Buffalo '66 is a winner.
  85. In recent years, South Korean cinema has fully flowered, producing both uncompromising highly personal films and crisp, intelligent genre movies, with Shiri the most spectacular example of the latter to date.
  86. Graced with performers who bring a purity of emotion to their work, the film is always dramatically convincing. There is a fundamental air of truth about it, a sense that, horrific though things seem, this is how it must have been.
  87. In Auto Focus, the strangely wonderful and weirdly touching new film from Paul Schrader, the comedy and the tragedy keep getting mixed up.
  88. Not long into this most exhilarating and enjoyable of movies, it becomes reminiscent of such vintage jewels as Carol Reed's simultaneously thrilling and amusing "Night Train to Munich."
  89. Surely there is room in the movies for a small film with an unabashed, even old-fashioned but timeless humanist spirit -- and a triumphant portrayal by a veteran star that is likely to be regarded as one of the year's best.
  90. Scrupulously fair-minded yet deliciously ambiguous, What Alice Found, a triumph of sound psychological and artistic judgment, is an unexpected treat for sophisticated audiences.
  91. A quintessentially wised-up insider comedy, ideally cast and filled with sharp writing from start to finish.
  92. Egoyan understands how potent a deliberate pace can be, how effective it is in making already powerful material strong enough to tear at your heart.
  93. Wickedly hilarious. [19 Feb 1999]
    • Los Angeles Times
  94. 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.
  95. Made under unique and wrenching circumstances, it gained poignancy and a kind of purity from its troubles, and an already affecting film ended up suffused with emotion.
  96. Abounds in psychological suspense and plays like a mystery film, even though the mystery at hand may be purely one of the human heart.
  97. This masterful celebration starts off slowly, even uncertainly, giving no hint of the rich and elegant exploration of love, jealousy and animal attraction it will in all good time become.
  98. A drama of extraordinary power and insight with dazzling performances from not only Spacey but also Danny DeVito (who may well be at his best ever) and from newcomer Peter Facinelli.

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