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. The Punk Singer fascinatingly traces the evolution of a woman.
  2. The Last of the Unjust, like Lanzmann himself at his advanced age, is ungainly but powerful.
  3. 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.
  4. A magically understated mash-up, Ernest & Celestine has a comforting storybook effect and proves a refreshing departure in an age of high-tech, hyperkinetic animation set to soaring pop ballads, as entertaining as they can be.
  5. Director Yuya Ishii, working off a gentle, finely textured script by Kensaku Watanabe (adapted from the novel by Shiwon Miura) takes his time telling this warm story of the 15-year creation of a definitive print dictionary, but it's a worthy journey.
  6. Afternoon of a Faun offers privileged glimpses of Le Clercq's life.
  7. Volume II builds on emotional foundations from Volume I, even recasting the first film's ironic humor with a darker pall.
  8. The spectacular combination of slapstick, love story and superhero antics doesn't entirely avoid awkwardness, but mostly it defies gravity, like many of the stunts.
  9. Raze is a sweaty, queasy, bruising experience — and a superbly crafted film.
  10. 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.
  11. Brimming with sharp asides and clever throwaways...plus astute observations on literary pretension and misguided youth, Adult World is a winner.
  12. No one comes out and says that music is the language of the soul, but no one has to. We see it happening right before our eyes.
  13. Apatow, working in his signature tone of sweet raunch, directs another writer's script for the first time, and the comedic marriage is a fruitful one.
  14. Marsh makes the most of McCarten's effective script. There's a real energy to his filmmaking, the ability to be intelligently dramatic without overdoing things that is ideally suited to material that would be so easy to get wrong.
  15. Amini has a powerful acting triumvirate in Mortensen, Dunst and Isaac to help him deal with the capricious nature of this particular tangled web.
  16. Life Itself may sound like it's a film that would only be of interest to those who knew Ebert personally or to fellow film critics, but the opposite is true.
  17. Whether Aaron Swartz is a personal hero or someone you've never heard of until now, his story cannot help but touch you.
  18. What happens when Omar is outside the prison walls, and how his world and his relationships are reshaped by the realities of broken trust and betrayal, make for gripping and heartbreaking watching.
  19. The complicated narratives don't distract from what this film does best: make you laugh about the things that make you furious.
  20. Odd, offbeat, somehow endearing, the bleakly comic Frank has its own kind of charm as well as some pointed, poignant things to say about the mysterious nature of creativity, where it comes from and where it might all go.
  21. All in all, Happy Christmas is a good deal like cartoon Charlie Brown's classic tree — scraggly, plenty of heart and much to enjoy, especially if you prefer your presents homemade.
  22. The director is increasingly adept at getting her actors to bask in emotions without any pretensions. It makes for easy watching. Seigel's breezy script makes the dialogue easy listening.
  23. Tense and violent, it grabs you from the first moments and rarely loosens its hold until the last body drops.
  24. Though it might not sound it, watching Kumiko brood is mesmerizing. Kikuchi uses her mournful eyes to take us to dark places, though she's equally adept at surprise and confusion, even joy when it comes along.
  25. Green's resolution is sensitive, expected, yet visionary. And, like the rest of the film, it is shot with a magnificent play of color and light that makes the characters' corner of the world seem like the cradle of compassion.
  26. What we find out about Maier, revealed in self-portraits as a striking woman with a singular sense of self, is fascinating.
  27. The film is quite serious about pushing its players and its audiences through the mental, as well as emotional, meat grinder. Many times along the way, you fear you know where things are going. But Kent is clever in choosing unexpected spots to pull the rug out from under you.
  28. Land Ho! is full of surprises, rich in the way it noses around the rocky terrain of aging in an indifferent world through the engaging performances of its two stars.
  29. As Obvious Child stumbles its way to the final punch line, it echoes Donna's onstage musings — funny but rough around the edges. A work in progress that somehow hooks you anyway.
  30. This examination of the whys and wherefores of indie rock star Nick Cave is an unusual and nonformulaic cinematic enterprise and an adventurous film by any standard.

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