Los Angeles Times' Scores

For 16,533 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 2.2 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:
16533 movie reviews
  1. The film delineates the rise and fall of conventional urban planning, but also lets us know that the battle is not completely over.
  2. The two leads are resolute soldiers about it all, but they’re dutifully edgy elements in a stylist’s frame instead of fully realized characters living out what is supposed to be the riskiest time of their lives.
  3. Though deeply personal and heartfelt, the overwrought film falls prey to too much melodrama and not enough realism or humor.
  4. "Let It Fall" understands the value of allowing its interview subjects to talk at greater, more involving length than is usual for documentaries, a technique that illuminates the complexities of reality and gives listeners a sense of the emotional textures of these people's lives.
  5. By sifting through and tying together an enormous variety of footage, directors Lindsay & Martin (who also served as editor) create an experience that gives a full sense of the anarchy and rage of the post-King verdict days, thrusting us fully and disturbingly into events in very much of a You Are There manner.
    • Los Angeles Times
  6. When “Chasing Trane” serves up mesmerizing footage of Coltrane lost in the middle of a long solo, the film communicates something beyond words.
  7. A film that finally fascinates despite some initial bumps in the road.
  8. Lucid interviews with human-rights activists, attorneys, anthropologists, authors and others help frame this multi-faceted portrait.
  9. Patagonian landscapes in 16 mm and Hollywood real estate shot in 35 mm provide a visually sleek backdrop for mighty uninteresting relationships in the pretentious indie Somewhere Beautiful.
  10. The flaws of Nola Circus aren’t limited to its outrageous and offensive approach. It’s that it never succeeds in bringing viewers onto its wavelength, which is probably a good thing for humanity’s sake.
  11. Free Fire is a savagely funny and viciously precise distillation of one of the pair’s favorite themes: Men are idiots.
  12. Laurent and Dion’s passionate, off-the-beaten-path primer advocates thinking globally but acting locally with community-driven, grassroots alternatives that aren’t affected by any executive orders.
  13. The Happiest Day in the Life of Olli Maki is a lovely piece of work, a sweet, warmly observed tale overlaid with just the right amount of Scandinavian melancholy, a combination that perfectly suits its quietly engaging protagonist.
  14. Bold and brutal in shocking spurts, the indie horror drama from writer-director O’Shea is a startling debut that leaves a fresh mark on the genre while celebrating its forbears.
  15. Though this movie has its outrageous moments, Di Novi puts the female emotional journey up front and treats things respectfully. But every erotic thriller needs some crazy, and thank goodness for Heigl's full commitment to her character's insanity.
  16. With seemingly all the right pieces, it's a disappointment that The Promise lacks the energy and originality needed to sustain itself. It might be fresh material, but the approach is decidedly stale.
  17. The stately rhythms of the dialogue — drawn out by the particulars of Davies’ blocking, framing and editing — become a kind of music. The effect is bewildering at first, then absorbing, then transfixing. Its purpose, in line with the loftiest ideals of poetry itself, is to clear the mind and stir the soul.
  18. Shot in evocative black and white, Karl Marx City is a sleek, absorbing detective story, a fascinating primer on mass surveillance in the pre-Snowden era, and a roving memoir of East German life.
  19. “Spark” should earn points for originality, but it never invests in establishing its world or its characters in a way that engages viewers.
  20. It sounds paradoxical but, if done right, films about a life ending can be the most life-affirming films you'll see. Truman, a great success in its native Spain, is definitely done right.
  21. The movie may, in the end, frustrate your desire for straight-up thrills and clear answers, but its irresolution is masterful — sincere, generous and entirely appropriate to the deeply searching story it has to tell.
  22. Lynch devotees should dig this respectful, offbeat portrait.
  23. Frequently fun and generally harmless, The Outcasts doesn’t bring anything new to the teen comedy, but that’s the nice thing about the sub-genre for its viewers.
  24. Subtle, unsettling, slyly amusing, Norman: The Moderate Rise and Tragic Fall of a New York Fixer takes some getting used to because it's the kind of film we're not used to seeing.
  25. Mission Control: The Unsung Heroes of Apollo is a well-crafted, revealing British documentary.
  26. By showing the exhausting diligence that goes into moments of pure transcendent joy onstage, this doc should make new fans for Giordano’s living museum.
  27. Bleak, naturalistic and flawlessly acted, Graduation distills the mood and moral decay of a place whose gray skies and nondescript housing blocks feel like permanent reminders of its dark history.
  28. All This Panic is a deeply felt tribute to youth but also to growing up; it’s a time capsule of a fleeting, fragile moment when angst is mixed with beauty and everything seems ripe with potential.
  29. The cast is game and the pace blessedly zippy, but everything about this film feels too fake to generate any real suspense.
  30. This lifeless serving of soggy pulp packs all the gritty authenticity of a gummy vitamin.

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