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. A moderately diverting entertainment as sleek and aerodynamically sound as the glider its characters tool around in, it takes no extraordinary chances and delivers no major surprises.
  2. Rejoice provides both a melodic education and a once-in-a-lifetime concert in one soul-stirring package.
  3. You can feel how personal a film In Bloom is and how promising a first feature this is for one of the country's new wave artists.
    • 72 Metascore
    • 70 Critic Score
    Reed stands at the center, taut and impassive, punching out words that are more often spoken than sung.
  4. Quinn discovers an unexpectedly funny, trenchant fish-out-of-water-eye-view of American life.
  5. With key scenes so vivid they barely feel scripted, this is more than a same-sex success, it's a most affecting, most sensual on-screen love affair, period.
  6. 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.
  7. It is not as exceptional a film as the reality deserves, but with a story this strong and races this expertly re-created, it squeezes out a victory by being as good a movie as it needs to be. On some days, that is enough.
  8. While the foreshadowing proves more fascinating than the upshot, the two leads breathe jittery life into every sinister twist.
  9. What Salmerón is after, however, is a simple portrait of hilarious exuberance, hard-won togetherness and strange wisdom. That search yields results.
  10. A harrowing and wrenching coming-of-age story.
  11. Although he’s working with familiar tropes, writer-director Felix Thompson, in his feature debut, wisely keeps clear of big, dramatic moments, maintaining instead a palpable naturalism through dialogue that has an unmannered, improvised feel and acting that follows suit.
  12. As semi-inessential as Mickey 17 feels in Bong’s canon, I’m at peace that he keeps asking how to give everyone’s life value. He’ll keep repeating the question until we come up with an answer.
  13. Alternately witty, caustic, tender and endlessly imaginative and unpredictable.
  14. A briny Northeastern noir powered by women with secrets, Blow the Man Down is a pleasantly spiky slinging of small-town sin that should prove to be eminently companionable viewing for these sequestered, streamable times.
  15. This is a compelling, often profound film, one that creatively surmounts its inherent limitations and shines a vital and heartfelt light on being transgender.
  16. If Happy End is something of a bad-seed nightmare, it turns out to be an unpredictable one, marked by unexpected flashes of warmth, sympathy and blistering humor. (It's been a while since a Haneke movie left me cackling in horror rather than reeling in it.)
  17. A crafty feature debut for the English writer-director Remi Weekes, His House is one of those return-of-the-repressed freakouts in which suspense and social conscience effectively breathe as one. That’s the idea, anyway.
  18. It would be Pollyannaish to pretend that the documentary Earth is without its problems, but the bottom line is, difficulties be damned, it shouldn't be missed.
  19. Whether as a constructor of large-scale enchantments or a notorious conceptualist, he emerges in this portrait as sincerely searching.
  20. 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.
  21. Despite the grim Cold War environment, Schlöndorff blends, mostly successfully, goofiness and melodrama into the overall social realist tone.
  22. Tense, smartly crafted and highly resonant, Aliyah is one of the best films so far this year.
  23. As comfortable to slip into as an afternoon in the sun, as satisfying as a late-night piece of cake, Princess Cyd is a jewel of a film that plumbs thematic depths far below its surface.
  24. It's all strangely wonderful, and it will take your breath away if you give it the chance.
  25. Zahler's still starkness, enhanced by a fondness for long shots and dark spaces, is refreshing in this shaky-cam era, and his ear for Old West sensibilities — from the mythically polite to the realistically xenophobic — is clinically effective.
  26. The inherent backstage machinations and underlying corruption and hypocrisy that go with the church/state backdrop may not be unfamiliar territory, but Saleh, who controversially took on the 2011 Egyptian revolution in his acclaimed 2017 political thriller, “The Nile Hilton Incident,” keeps it all quite compelling.
  27. Risk is first and foremost an impressive cinematic coup, a triumph of access to an elusive and sometimes combative subject. It is also an unsettling and fascinatingly unresolved piece of work, with little of the moment-to-moment suspense and dramatic focus that made “Citizenfour” so riveting.
  28. The distinctive visual style is notably fluid and detailed. The layout artists craft lovely painted environments with rich textures. The action is enjoyable and character-specific. As one would expect from an anime this popular, the imagination is off the charts.
  29. The result is something refined, naturalistic, specific, enigmatic and funny — not unlike an Eisenberg story, for one thing — but also akin to any trip one might make in a reflective yet anxious state of mind, with people you think you know but might be unsure about.

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