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. Writer-director Nicholas Jarecki squarely lands that punch, creating a tense and chilling horror story for financially fraught times.
  2. Dreamy and creepy, tender and terrifying, Somersault is a frank and visceral film that at the same time exudes an unexpected innocence.
  3. The dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed.
  4. The details are mesmerizing as is the rule-breaking psychology behind it.
    • 73 Metascore
    • 70 Critic Score
    A demanding, harrowing drama of agonized love laced with sardonic humor. [19 Apr 1992, p.9]
    • Los Angeles Times
  5. There’s a salve-like quality to Jane Austen Wrecked My Life, a balm for any battered romantic’s soul. It may be utter fantasy, but it’s the kind of escape you’ll want to revisit again and again, like a favorite Austen novel.
  6. Crossing the Bridge does more than offer a wide variety of entertaining and intoxicating Turkish music. It also uses music to paint a portrait of a vibrant, cosmopolitan city and provide a window into a rich and varied national culture.
  7. One of the best sports documentaries in recent memory.
  8. Like "Street Fight," Marshall Curry's account of the 2002 Newark, N.J., mayoral race, "Mr. Smith" captures ground-level political machinations in an utterly fascinating way. The question raised by the title makes for an interesting, if possibly disheartening, debate.
  9. The 1959 film's style is dated, but it is visually glorious and tells a fascinating story.
  10. Sometimes when the moment comes to reconcile our feelings, we freeze or fumble the opportunity; other times, when we finally process the emotions and can articulate the thoughts, it is too late to communicate them. Coming Home Again, sweetly, sometimes painfully, evokes this experience.
  11. Though admirably sensitive to the inner lives of opened souls, The World to Come is more a journal with faded photographs than a past made vividly present.
  12. While other films struggle for their effects, Brothers simply lives and breathes, thoroughly likable from beginning to end.
  13. Such a powerful experience that it is equally effective whether you have figured out from the start where it is headed or whether its denouement comes as a complete surprise.
    • Los Angeles Times
  14. 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?
  15. Demme finds haunting overtones in the somewhat old-hat situations of E. Max Frye's first screenplay. Something Wild also has three first-class performances: by Daniels, who seems to have resources that his earlier roles never touched; by electrifying newcomer Ray Liotta, and by Griffith as the maddening, mysterious Lulu. [6 Nov 1986]
    • Los Angeles Times
  16. School Life is as charming, intimate and warm-hearted an observational documentary as you'd ever want to see.
  17. Fake Case assumes a certain familiarity with Ai and his work — explored more thoroughly in Alison Klayman's "Ai Weiwei: Never Sorry." But as a follow-up and a companion piece to that 2012 documentary, Johnsen's new work is remarkably intimate and astute.
  18. As it marches its characters ever so slowly toward a suitably despairing climax, the movie feels increasingly like a self-satisfied but unsustained provocation, a rich display of craft in service of secondhand shocks and ideas.
  19. The focus here is always on character and storytelling and the acting that brings it all alive. With thrillers this good becoming a lost art, Wind River is definitely one to savor.
  20. Lynch's film is a work of steady chronological progression. Without straining for big-picture significance, it provides a composed look into the revolutionary spirit.
  21. Air
    In some ways, the movie is also carrying on a subliminal, more subtly nostalgic conversation with the ’90s, the decade that transformed Affleck and Damon into household names and saw some of their key supporting players here first rise to prominence.
  22. Kusturica works marvels with his endlessly amusing cast, and his film has an appealingly free and easy tone.
  23. As intriguing as the facts are, much of the documentary's charm is the way in which it embeds the work.
  24. The remarkable script by Pierre Marton manages to be great fun while laying bare the evils of the institution of slavery. [11 Aug 1991, p.6]
    • Los Angeles Times
  25. Actually witnessing the audience’s emotional connection to her lyrics makes “Hit Me Hard and Soft” feel like an epic coming-of-age movie as much as a concert film. Still, by the 50th mascara-smeared face, I needed fresh air.
  26. Spider-Man may look like an action comic come to life, but its best feature is its romance comic heart. It's that rare cartoon movie in which the villain is less involving than the love story.
  27. Wings of the Dove is richly appointed and beautifully mounted, with lush location shooting in Venice given the place of honor.
  28. Parabellum excels when it tees up the sublimely inventive and wince-inducing close quarters fights with the lethally graceful Reeves baring John Wick’s psyche and soul between reloads and headshots.
  29. It's exhausting, exhilarating, riveting stuff that fans of high-octane filmmaking should not miss.

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