Los Angeles Times' Scores

For 16,524 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:
16524 movie reviews
  1. Should be required viewing for youngsters thinking about a music career. It's a great reminder to be careful what you wish for.
  2. Many try but few succeed as well as writer-director Joel Hopkins with his beguiling first feature, Jump Tomorrow, in giving a fresh spin to '30s screwball comedy.
  3. Wise, understated, warm and witty, it presents stars Michel Serrault and Mathilde Seigner in roles that fit them so perfectly they could have been tailor-made.
  4. Bristling but finally surprisingly moving film.
  5. With its gift for infusing uneasiness into every frame, Kurosawa's moody, unnerving film continues to spook us even after the lights have gone on.
  6. Sly and witty.
  7. Daring and edgy, it's a German co-production (critical for avoiding censorship) that's filled with the intoxicating excitement of creating images for the screen.
  8. Writer-director Richard Day has come up with a delicious cliché of a plot to allow talented female impersonators Jack Plotnick, Clinton Leupp and Jeffery Roberson to strut their stuff. The result is a nonstop hoot.
  9. Has a sense of humor that is intellectual, even academic, at heart.
  10. Has a warmth and sweetness that is especially hard to resist.
  11. This is a film that goes its own way to the end as it asks the audience, "What you just saw, were they happy times or not?" The question is a good one, and the answer, like this film, is sure to stay with you.
  12. A straightforward drama done with a maturity and conviction impressive for a first film.
  13. A powerful and empathetic melodrama with feminist underpinnings.
  14. This is finally a film that is better at mood than substance, that has its strongest hold on you when it’s making the least amount of sense.
  15. The filmmakers have brought such breadth and depth to the material. Everyone counts in this film, not just Julia Lambert.
  16. An exceptional coming-of-age film--subtle, humorous, compassionate, acutely perceptive.
  17. Unusual in its ability to mix bodily functions humor with a sincere and unlooked-for sense of decency.
  18. The result is pure, unabashed and unpretentious entertainment of a sort once a staple of the movies but now rare.
  19. A rousing, warmhearted comedy, as infectious as the gospel music it celebrates.
  20. Promises takes a simple idea and just about breaks your heart with it.
  21. It is consistently entertaining and frequently hilarious, the violence of the slapstick so cartoonish that it does not spoil the fun.
  22. While undeniably silly and violent in a cartoon-like manner, is by and large a hilarious skewering of the clichés of teen pix.
  23. Plays out like a Frank Capra movie with the "little people" taking on corrupt and indifferent officials. In the process the film strikes a strong blow for the dignity of labor and introduces an array of brave individuals.
  24. An unalloyed delight, bright and breezy escapist fare that's pure entertainment, filled with romance, adventure, humor, action, suspense, beautiful scenery and beautiful people.
  25. What the intelligently spooky Birth does best is disturb us.
  26. Turning ordinary life into movie magic is one of the most difficult, least-heralded challenges for any filmmaker. What makes Freaky Friday a charmer isn't how far-out things get for this mother and daughter, but how sweet and distinctly un-freaky a kid, her mom and their love for each other can be.
  27. Genuinely scary and also highly amusing.
  28. Crackles with forceful portrayals. Funny, violent, impassioned and inescapably poignant, Stander in no way sanctions Stander's turning to a life of crime yet has the courage to see him as a victim of apartheid himself.
  29. Seven years in the making, it demands to be experienced not just because of the good it does but because of how unexpectedly good, even buoyant, it makes you feel.
  30. An honest title for a film that is almost entirely conversation. Yet its rich contemplative tone proves deceptive, for its director, Portugal's preeminent filmmaker Manoel de Oliveira, at 96, still knows how to pack a wallop.

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