Los Angeles Times' Scores

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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:
  1. Positive: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Mr. Roosevelt
    With her debut, Wells demonstrates that she's more than a comedic talent with a wonderfully weird sensibility. As a writer-director, she puts her own stamp on a standard premise, resulting in an unconventional but genuinely enjoyable film.
  2. Little Feet
    It's excusable for a sheltered novice filmmaker to be out of touch like this, but not for a veteran.
    • 73 Metascore
    • 80 Critic Score
    The Major and the Minor
    Tons of fun. [28 May 1998, p.F39]
    • Los Angeles Times
  4. Splitsville
    The entire movie has a disappointing air of smug self-regard about it, with an expectation the audience will adore everything about the characters as much as they do. What at moments feels like a nascent interrogation of contemporary masculinity ultimately suffers from the very impulses it seems to want to parody.
  5. Folktales
    It looks exhilarating, and if the filmmakers are ultimately there to play, not probe, that’s fine, even if you may not know these kids at the end any better than you did at the beginning.
  6. Results
    The rom-com isn't such a lost cause, after all. It was just waiting for someone like indie filmmaker Andrew Bujalski to resuscitate it.
  7. Cars
    What's surprising about this supremely engaging film is the source of its curb appeal: It has heart.
  8. Appropriate Behavior
    Akhavan's confidently off-kilter approach to basic human interaction makes for an authentically ironic, adorably wistful, smartly observed ride.
  9. Saving Banksy
    The road to hell, the saying goes, is paved with the best of intentions, and that is very much the case with the complex art world conundrum explored in the lively, involving documentary Saving Banksy.
  10. Slay the Dragon
    A compelling and instructive look at the political practice of gerrymandering. It’s also an infuriating watch on several levels, which is entirely the point of this call-to-action portrait.
  11. Erin Brockovich
    Irresistible, hugely satisfying feminist fairy tale.
  12. Zombieland
    First-time feature director Ruben Fleischer brings impeccable timing and bloodthirsty wit to the proceedings. Cinematographer Michael Bonvillain captures some interesting images amid the post-apocalyptic carnival of carnage, as when he transforms the destruction of a souvenir shop into a rough ballet.
  13. Red Satin
    Belly dancing isn't always the most thrilling of dances, but it's a blast to see these women shaking and rolling because they're so thoroughly in charge of the male clientele and their own sexuality.
  14. Alias Betty
    A confidently adroit thriller that captures a comprehensive sense of life in an edgy, multicultural and economically diverse Paris. The large cast couldn't be better, but the film belongs to Kiberlain.
  15. Mouthpiece
    There are times when this visual twist confuses rather than elucidates. However, there’s no denying the bracing, honest nature of Mouthpiece, a truly revolutionary piece of filmmaking.
  16. Julieta
    The movie may not have the audacity and emotional grandeur of a new Almodóvar masterpiece, but in every particular — its seamless manipulation of time, its sly infusions of comedy, its expert direction of actors and, yes, its fabulous wallpaper — it confirms his mastery nonetheless.
  17. Ferrari
    Amid the roaring motors and screeching tires of “Ferrari,” Michael Mann’s operatic saga of fast cars, furious women and the powerful human citadel who toyed with them all, a moment occasionally rises from the smoke with the grace and clarity of an aria.
  18. Antz
    Brief enough, clocking in at 83 minutes, but its story is too predictable to make an impact even in such a short space. Unlike "Toy Story," the dialogue here, written by Todd Alcott and Chris & Paul Weitz, is pro forma all the way.
  19. The Lookout
    A writer's thriller. True, it's cleanly and efficiently directed, and it showcases some crackerjack acting, but the reason it's a real pleasure to watch is that a writer's sensibility is the foundation everything is built on.
  20. News of the World
    Greengrass can be as shrewd and skillful a storyteller as his hero, even if News of the World finally inspires something less than total belief.
  21. Big
    The greatest thing about Big is that its makers have known how to end it in a thoroughly satisfying fashion, which is always the challenge-and often the stumbling block-of fantasy. In never confusing what is child-like with childishness, Big is actually a refreshingly grown-up comedy-for the entire family. [3 Jun 1988, p.1]
    • Los Angeles Times
  22. Summer Pasture
    Summer Pasture has an earthy intimacy and compassion for its subjects that will have you thinking about their plight long after they've packed up and moved on for winter.
  23. Good Boy
    I liked the plot better on a second watch when I knew not to expect Jamie Lee Curtis on all fours. The ending is great and the build up to it, though draggy, gives you space to think about the interdependence between our species.
  24. Planet of Snail
    Planet of Snail is simple, direct and magical. The warm, intimate story of a singular couple, it won the top prize at the prestigious International Documentary Film Festival Amsterdam, and it will win you over as well if you give it the chance.
  25. Girl
    Dhont’s film is a strong debut from a technical angle, but it lacks the humanity necessary for a story of this nature.
  26. The Hangover
    There is a sort of perverse brilliance or brilliant perverseness to be found in this story of a bachelor party gone terribly wrong.
  27. The Square
    The Square means to send you out of the theater arguing, and its success on that front should not eclipse its more lasting, unsettling achievement. It affirms that art, this movie very much included, can tell us things about ourselves that we’d prefer not to know.
  28. The Club
    Larraín, who wrote the movie with Guillermo Calderón and Daniel Villalobos, approaches the material like a scientist both fascinated and cynically bemused by how a particularly virulent sickness operates.
  29. The Girl Cut in Two
    Impeccably made and uncompromisingly adult, Claude Chabrol's A Girl Cut in Two is unquestionably the work of a master.
  30. Slam
    Levin brings to "Slam" a raw, impressionistic style that expresses its highly charged emotions effectively and goes a long way to offset that there's not much in the way of traditional-style character development. [21 Oct 1998, p.F5]
    • Los Angeles Times
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