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. If the final result doesn't transcend emotionally in the manner of the gold standard of Boston noir, Clint Eastwood's "Mystic River," the fault is not in the execution but the unyieldingly oppressive nature of the underlying material.
  2. Closed Curtain is richly allegorical, but the film succeeds even more as an exiled artist's reassurance that the law can't stamp out art.
  3. A harrowing picture of the casualties of war — and the unchecked madness that may drive those entrusted to defend us.
  4. The joy on display here is contagious.
  5. Physical beauty and fearless adventure, silly comedy and sensitive emotions, filmmaker Hiroyuki Okiura brings a facility for all of them to the table.
  6. NightLights achieves something admirably genuine about the queasy mixture of anguish and joy attached to caretaking for the most needy of loved ones.
  7. Some of the black photographers' works here are breathtaking — and may prompt you to hunt down Willis' book for the coffee table. But there's so much more to take away from Harris' documentary.
  8. Because of its strong dialogue and convincing acting, 99 Homes stays on point for quite some time, artfully disguising the film's increasing reliance on plot devices.
  9. Working from a screenplay by Edgerton, rising Australian director Matthew Saville has expertly constructed a low-key, realistic drama in which the malleability of morality in an increasingly murky situation takes center stage.
  10. If you can adjust to the film's uneven rhythms and often illusory vibe, there's a treasure trove of off-kilter humor, affecting pathos and first-class acting to be savored.
  11. Dance purists might dismiss Streb's work as circus gymnastics, but a bracing aesthetic is inseparable from the corporal shocks, as is an insistence on challenging accepted constraints. Through Gund's film, a wider audience stands to be not just amazed but provoked.
  12. Dubious ending aside, Constanzo's approach to structuring, shooting and pacing the tricky material proves masterful and memorable.
  13. Despite what seem like the trappings of a Lifetime movie, writer-director Claudia Myers presents us with an unflinching and complex character study of an imperfect woman.
  14. Polsky's treatment of this material is nothing if not entertaining, including lively visuals like placing a tiny bouncing hammer and sickle over song lyrics, and his ability to apply a lively style to serious subject matter is key to Red Army's success.
  15. Though the issues are heavy, the execution is light, enjoyable, but it keeps Elsa & Fred closer to "Sleepless in Seattle" than Fellini's deliciously deep Roman affair.
  16. Unlike documentaries that tie things up in a tidy bow, Supreme Price wants viewers to understand that the status of democracy in Nigeria remains very much in flux.
  17. Waiting for August" is an impressive, if muted, debut documentary.
  18. Walters engagingly captures Botso teaching music, sculpting, conducting, spending time with his wife and young daughters and even traveling back to his Georgian hometown of Tbilisi. The energy, dedication, kindness and optimism he displays are truly infectious.
  19. A raucous and refreshing new take on the Christmas movie.
  20. Private Violence makes painfully clear the emotional and legal hurdles battered women endure just to feel safe again in or outside the home.
  21. Although their work involves interviewing eyewitnesses and gathering photographic evidence to build a case for violations of international law, the procedural stuff tells just half of E-Team's compelling story.
  22. The moral of Moana is that playing it safe can have its limits. It’s hard not to agree, even when this lovely, reassuring hug of a movie doesn’t entirely heed its own advice.
  23. Writer-director Barnaby weaves a surprising amount of tenderness into the fabric of violence, as well as a good measure of magic realism, to keep the gritty story engaging.
  24. Happy Valley is especially good at revealing a mass desire to shift blame, showing how everyone the scandal touched wanted to focus on the aspect that made them the least responsible.
  25. A seriously satisfying superhero movie, one that, rife with lines like "the stench of your fear is making my soldiers hungry," actually feels like the earnest comic books of our squandered youth.
  26. For wannabe, seasoned pro and curious observer alike, these tales from the creative front lines are, like good TV, as insightful as they are entertaining.
  27. "Antarctica" is successful because it operates on two complementary levels, the epic visuals whose grandeur can stagger you and the small-scale personal stories of the people who live and work down there.
  28. Satiric, surreal, unexpected and at times wildly funny, Zero Motivation is a savage black comedy that eviscerates an unexpected target: the Israeli army.
  29. We look to documentaries like The Invisible Front — dense with detail, straightforward in laying out the issues — to put history in perspective. And in this case to illuminate a little-known page from it.
  30. The film is anchored by two riveting performances from Castillo and Lange.
  31. A richly absorbing historical docudrama.
  32. What might seem unlikely to endure beyond standard sketch length proves surprisingly resilient in the hands of directors Clement and Waititi, the team responsible for the equally droll "Flight of the Conchords."
  33. Masterfully keying the compact performances into a striking lighting scheme that often bathes the musicians and dancers in warm golden or somber indigo hues representing the cycle of life, Saura's spare, elegant staging and the fluid, intimate cinematography by the great Vittorio Storaro ("Apocalypse Now") create an intoxicating effect.
  34. Intimate and unusual behind-the-scenes look at the creation of a ballet, it may sound rarefied but has enough moments of truth and beauty to engage general audiences.
  35. Brown spent nearly four years so that we would witness Brawner's transformation firsthand. Rather than the after-school special that this film easily could have been, we get so much more out of it.
  36. Drenched in nostalgia, this loving tribute to the unsung heroes of cinema has immense appeal.
  37. The film offers a valuable life lesson in the powers of determination and timing, but most of all it's darned entertaining.
  38. The film flirts with upper-class stereotypes, but in the nuanced writing and the work of the strong cast, led by a terrific Valeria Bruni Tedeschi, it goes far deeper.
  39. The film is as much a provocative exposé of Franklin, who awaits trial on murder charges and has proclaimed his innocence, as it is a vivid portrait of a community long plagued by drugs, crime, poverty and desperation.
  40. The combined exceptional work of star Leonardo DiCaprio and nonpareil cinematographer Emmanuel Lubezki create so much verisimilitude and beauty that it compels us to pay more attention to this glimpse of a dark, unsettling kill-or-be-killed world.
  41. PK
    A biting, whip-smart satire on the thorny subject of organized religion, the Bollywood musical "PK" enlightens and provokes through outrageous slapstick.
  42. Impressively, Gangs of Wasseypur manages its sprawling story lines deftly and maintains a brisk pace throughout its daunting length. The performances are uniformly excellent, even if no character in Part 1 is at all likable.
  43. It deals with friendship, loneliness, abandonment and forgiveness, and though its curious narrative arc means you're never sure exactly where it's going, the film works up a considerable emotional charge by the end.
  44. Grossman doesn't step back for a broader, contextualizing view of the Middle East; the film contains a single comment on the 1948 war's ramifications for displaced Palestinians. But as an oral history of the pilots' experiences, it's indispensable.
  45. The story of Captain Underpants is funny, fresh and frantic, playing with format and genre, adding meta, self-reflective winks. The film is propelled by its hyperactive energy and quirky style...and the combustible chemistry between the two leads.
  46. In a way, the movie is a tug of war between the fruits of exhaustive research into old-world madness — which plays out most prominently in the richly possessed performances (particularly Taylor-Joy and young Scrimshaw) and the evocative frontier trappings — and an entertainer's pulpier instincts.
  47. Kelly, who is credited with Stacey Miller for the screenplay, is shrewd enough to keep the movie from being a dramatized op-ed piece about betrayal, instead making roiling uncertainty, loneliness and melancholy the marquee emotions.
  48. Australian Mendelsohn (sporting a pitch-perfect American accent) and Reynolds are terrific, each wrapping himself up in the material like a well-worn favorite sweater.
  49. Directors Bryan Carberry and Clay Tweel stick with this story long enough to emotionally deepen the proceedings and show us how the struggle changes lives in profound ways no one could have anticipated.
  50. Fear of retaliation often keeps faculty and administration from speaking up for students or talking at all, and six university presidents declined to be interviewed here. If it does nothing else, The Hunting Ground should make that kind of evasion more difficult in the future.
  51. Though the Meru climbing and outdoor footage is spectacular, it is the personal struggle of each of the climbers, and the candid way they talk about them on camera, that give this film its considerable impact.
  52. Small, smart and inescapably independent, People Places Things has its own offbeat and charmingly low-key way of seeing the world.
    • 69 Metascore
    • 80 Critic Score
    The movie is as entertaining as it is educational.
  53. Don't mistake a lack of flash for an absence of substance. The story told here couldn't be more significant or more timely.
  54. Maneuvering shrewdly within the boundaries of the traditional canon and aided by the impeccable performance of Ian McKellen, Bill Condon directs an elegant puzzler that presents the sage of Baker Street dealing with the one thing he's never had to contend with before: his own emotions.
  55. Whaley nicely calibrates this wistful dramedy's emotional quotient, never allowing sentiment to turn into sap.
  56. Like any good purveyor of noir, Boyle, who wrote the film with Joel Clark and Michael Lerman, understands that identifying someone is only one endgame while the mystery of identity is naggingly, tragically endless.
  57. She's Lost Control is a quiet triumph, a true herald of a distinctive and necessary voice in cinema.
  58. As a first film, it is incredibly accomplished, its influences (French New Wave, Wong Kar-Wai) apparent but integrated.
  59. An Honest Liar isn't simply a career recap or a fond portrait; the movie takes exhilarating turns as directors Justin Weinstein and Tyler Measom follow present-day developments in Randi's personal life.
  60. A delicately written, boisterously performed movie about the difficult people who dare us to care about them.
  61. Maysles' portrait of Iris Apfel, a 93-year-old self-described "geriatric starlet," is surprisingly memorable, graced with an unforced but unmistakable charm.
  62. While this buoyant account of his brief but eventful life might feel like a rock climber's "Man on a Wire," the Oscar-winning 2008 documentary about tightrope walker Philippe Petit, director Marah Strauch gives the film an exhilarating uplift of its own.
  63. Frequently laugh-out-loud funny and tangibly tender where it ought to be, the immensely satisfying screwball romp feels freshly contemporary even as it largely conforms to genre conventions.
  64. [Hancock] turns the unlikely subject of a fast-food chain into a quasi-religious satire, a parable of American striving and, ultimately, a study of artisanal integrity gradually caving in to commercial compromise.
  65. Under their all-encompassing tutelage the band originally billed as the High Numbers would go on to international renown as the Who, and the extent to which Lambert & Stamp can take credit for that transformation is thoughtfully weighed in this revealing film.
  66. Co-writer and director Maxime Giroux's Felix and Meira is an unusual love story that, though shrouded in chill and shadow, has moments of true loveliness.
  67. A strikingly poetic documentary that illustrates the push and pull of life's opposing forces.
  68. Field amazes with her gameness, range and commitment.
  69. While the filmmaker's trademark mixture of talking heads, archival footage and investigative ethos is familiar, Gibney is certainly good at what he does, and "Steve Jobs" is at its best in providing a brisk summation of the man's life. Or, more accurately, lives, for Jobs seemed to have been more people than one would have thought possible.
  70. Learning to Drive is a richly observed, crosscultural character study that coasts along pleasurably on the strengths of its virtuoso leads.
  71. With an unassuming directness, Moretti...toggles between work and life pressures in a way that finds the curious feelings and epiphanies that bind the two, and somehow give meaning to the whole dance.
  72. In its best moments, this gag-a-minute Bat-roast serves as a reminder that, in the right hands, a sharp comic scalpel can be an instrument of revelation as well as ridicule.
  73. The film is an exploration of art as a way through immense and complex emotions. It is unexpectedly a breathtaking reminder of life's joys — in nature, in friendship and, in a particularly buoyant scene, in the bark of a deceased friend's poodle.
  74. The Adderall Diaries is a complex, absorbing, at times profound look at how we choose to remember our past. Wh
  75. A compelling documentary that's short on running time but long on emotion.
  76. What a pleasure to see a simple, finely tuned dramedy about real adults with real emotions in a real-life situation.
  77. It's gritty and grim, but Animals is also a gripping portrait of young junkies in love.
  78. Irrational Man never does make sense of the inscrutable Abe, just as most people, Allen included, remain mysteries to themselves and others. This finally reveals the film to be neither comedy nor drama, but an all too human horror story where the monster is within.
  79. For a movie that all but demands that you swoon into its arms, La La Land doesn’t always seem to know exactly how to surrender to itself.
  80. While the subject is deeply moving — and bringing tissues is recommended — Guggenheim's treatment is restrained, as he deploys inventive storytelling techniques that invite viewers inside Malala's world, to feel her joy, trauma and ultimately forgiveness.
  81. Like a haute couture garment, Chic! is a finely crafted piece of work, a comedic romantic drama set within a frothy and sublimely funny caricature of the Parisian fashion world.
    • Los Angeles Times
  82. It’s a wondrously silly premise, and one that Lanthimos, not unlike those great cine-surrealists Luis Buñuel and Charlie Kaufman before him, executes with rigorous illogic and immaculate formal control.
  83. Beneath the well-worn dysfunctional-family setup are bracing observations of the human coping mechanism. Startling expressions of longing and denial go off like detonations within the quietest of exchanges.
  84. The Accountant is a nifty piece of genre entertainment, its wacky edge and genial tone despite that body count coming as something of a pleasant surprise in a year rife with lumbering, over-amped blockbusters.
  85. Sensitively handled yet unafraid to elicit squirming, and boasting a seriously affecting turn by Lindon — who won last year’s Cannes award for Best Actor — it’s a miniature portrait of quotidian desperation that nevertheless speaks to the collective psychic moan of job-seekers and those barely holding on everywhere.
    • 79 Metascore
    • 80 Critic Score
    Sequences in which Tao helps an ill friend and deals with the death of a parent are as finely staged and acted, as sorrowful and transcendent, as anything ever to grace the screen.
  86. Actors gravitate toward passion projects, films they care deeply, even obsessively about, but the end result is hardly ever as convincing as A Tale of Love and Darkness a film of beautiful melancholy.
  87. For a drama that’s as quiet and circumspect as Chronic, it’s a decidedly bold film, one that pulls few punches as it slowly peels away the emotional layers of its complex protagonist. t also features an ending that’s as devastating as it is shocking.
  88. Rams is so much its own film that figuring out where its unusual, unpredictable plot will end up is difficult if not impossible.
  89. Peddle has more in mind than creating a stylized mood. His first narrative feature makes some astute observations about adolescence and identity, including that of the culturally shifting American South, in a way that is at once immediate and timeless.
  90. Whatever your feelings on capital punishment, A Murder in the Park has a gripping story to tell about, oddly enough, the corrosive effects of storytelling on the justice system when it gets the best of reasoned minds.
  91. A documentary that shouldn't have to be made, about a law that needn't exist, explored via a crime that could have been avoided: 3 1/2 Minutes, Ten Bullets is a thought-provoking, mournful experience, perhaps more so in the wake of the killings in Charleston, S.C.
  92. The rise-and-fall trajectory of Knievel's career is colorfully captured in Daniel Junge's Being Evel, a savvy documentary that gives the granddaddy of extreme sports his due while gauging the national climate that welcomed his shrewdly timed arrival.
  93. Director Ozon... infuses the picture with a provocative array of themes, imagery and moods. But it's French film heartthrob Duris' fluid, finely measured, physically deft portrayal of the blossoming David that sets the movie apart.
  94. With admirable economy, writer-director Billy Senese has crafted an eerie piece that's as much an effective cautionary tale as it is a stirring film of ideas — and ideals.
  95. Its oddball colors and willful wanderings betray a sweet, savory, uncompromising air that showcases Russell's uniquely fused brand of American harmony with rascally ebullience.
    • 60 Metascore
    • 80 Critic Score
    Tap World, also takes viewers around the world, and that, plus some flat out terrific performances, make this a surprisingly lovely little film.
  96. What begins as a quirky portrait of the artist as a gringo mariachi troubadour proves to be a telling study of a lost soul whose palpable passion for his music acts as a surrogate for more meaningful human contact.
  97. Meet The Patels is more than just a hoot. Its candor and empathy allow it to make keen points about love, marriage, family and the unexpected complications that American freedoms can bring to immigrant lives.

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