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. Often exhibiting the best of DIY cinema sensibilities — a mixture of focus, mood, and lived-in characterizations — Green is Gold augurs good things for the multi-hyphenate Baxter.
  2. With the same clarity and fluency he brought to far sunnier material in “Casting By,” Donahue pinpoints the devastating intersection of personal trauma and institutional neglect in an age of perpetual war.
  3. Though it is only now receiving a U.S. release, it says something about the ever-prolific filmmaker’s consistency and extremely high level of proficiency that the film still seems fresh and enchanting, by turns delicate, romantic, mysterious, witty and crushing.
  4. Anchored in an exceptionally persuasive performance by Rachel Weisz, "My Cousin Rachel" is not only a triumphant exercise in dark and delicious romantic ambiguity, the pitfalls of being taken in are what this melodramatic thriller is all about.
  5. Half visual essay, half verbal investigation, “Silence” is thoughtful and informative as well as contemplative and restorative.
  6. Creepy uses silence as a tool of terror, following its characters through long, tense scenes where everything’s a little too quiet, and where each creak sounds like a scream. The director has always excelled at making the ordinary seem unsettling.
  7. Its conclusion, and its well-earned message, are more positive and hopeful than even its participants likely ever imagined they would be.
  8. National Bird is powerful cinematic journalism.
  9. [An] engrossing, unexpectedly moving documentary.
  10. XX
    It’s fascinating to observe how the feminine perspectives of XX create four powerfully compelling and original horror tales that operate within the genre while testing the boundaries of traditional storytelling and style.
  11. As directed by Oscar-winning documentarian Steven Okazaki, "Mifune" is thorough and insightful enough to enlighten the man's numerous fans and serve as an introduction to those unfamiliar with his gifts and his influence, which were huge.
  12. The movie is practically a textbook about how ravenous corporations and feckless government can strip-mine the souls of workers, and replace them with a political narrative about their problems that keeps reality forever hidden behind a fine, dusty fog.
  13. Don’t Call Me Son, although built on conflicts that have fractured many a family, thankfully never veers into melodrama.
  14. Director Paolo Virzì, who co-wrote with Francesca Archibugi, keeps the jam-packed film moving apace with a whirlwind of high-wire emotionality, memorable set pieces and vivid location work.
  15. This is a film that wants you to live in the moment, to enjoy what is on screen when it is there in front of you and not worry how it fits into a plot that can be confusing but clears up in time for the inevitably rousing conclusion.
  16. If you have an affection for puns or off-kilter humor, it’s hard not to be charmed by Asperger’s Are Us.
  17. The brutally serene documentary Iron Moon from Qin Xiaoyu and Wu Feiyue spotlights a handful of bottom-rung workers who write achingly clear-eyed poetry that spotlights the contours of their lives.
  18. Writer-director-editor Danny Sangra takes on the complicated relationship between art and commerce in the sharp, surprising Goldbricks in Bloom.
  19. [A] stunningly assured, darkly gripping first feature.
  20. While the information presented might not come as news to many, the way that O’Hara synthesizes the massive volume of it into a personal story of herself and Servan-Schreiber, is immensely captivating and persuasive.
  21. The film is at its best following the former vice president as he spans the Earth both gathering evidence and promoting his message.
  22. In its strangest, most arresting moments, Spider-Man: Far From Home doesn’t just pull the rug out from under you; it tumbles down its own rabbit hole, winding up somewhere in the vicinity of Pixar’s “The Incredibles” (whose composer, Michael Giacchino, also wrote this movie’s bustling score) and Chuck Jones’ classic animated short “Duck Amuck.”
  23. The Ross brothers augment the teams’ richly choreographed, competition-tested routines with slow motion, superimpositions, and separately shot material with individual color guard members. But these artful divergences feel naturally expressive, the filmmakers’ way of honoring the expressiveness, and wanting in on the inspiration.
  24. With The Party, availing herself of a zinger-heavy script and an unimprovable cast, the director has made not only her most accessible picture to date, but also a shrewd demonstration of the less-is-more principle.
  25. An involving examination of and tribute to the art and agony of stand-up comedy, "Dying Laughing" will leave you convinced that a) comedians spend a lot of time thinking about their work and b) it's too difficult and even painful a vocation to take on unless you absolutely feel it as a calling.
  26. The mix of outrageous comedy and gentle sentimentality is familiar but very fresh, especially in the hands of four actresses who effortlessly establish a sense of shared history.
  27. This is one documentary, as “La Danse” was before it, that is a thing of beauty in and of itself.
  28. It’s an often tender, affecting film that slowly creeps up on you — then completely takes hold.
  29. Within the concise running time, Zea brings a remarkable life and body of work into dynamic focus.
  30. As it plays out, it’s only a hard road for these swept-up, damaged lovers, whom Klein and his actors treat with blessedly non-exploitative honesty.

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