Los Angeles Times' Scores

For 16,535 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:
16535 movie reviews
  1. De Niro’s scenes with Mann glow with warmth and wit, but something in his performance clenches up whenever Jackie gets behind a microphone and starts railing about masturbation, incontinence and other below-the-waist targets.
  2. Pet
    Pet isn’t much more than a twist on an old conceit, and the character beats are painted with overly broad strokes, but it’s sharply shot with a crystalline sense of unease, and Monaghan and Solo lean into their creepy performances wholeheartedly.
  3. Enjoy a marathon of Bravo’s real estate reality shows for more nuanced characters and compelling story lines instead.
  4. The aesthetic that Dominik has crafted is a pitch-perfect expression of Cave’s grappling with matters of time and space. It’s gorgeous and ghostly.
  5. Things to Come holds us completely. A life is unfolding here, under our eyes, and we never lose sight of how special that is.
  6. The sumptuously shot, costumed, designed and scored Russian import The Duelist dazzles and provokes as it makes little real sense beyond the confines of its hermetic milieu.
  7. [Pesce’s] sense of horror craftsmanship is at once meticulous and oblique.
  8. Larraín told his producers he wouldn't do Jackie unless Natalie Portman agreed to take on the role, and her superb performance, utterly convincing without being anything like an impersonation, vindicates his determination.
  9. What emerges is a portrait of doctors and staff who work hard to do the right thing for their patients and the babies, who have no voice. It is life, fought for and forged in the most difficult of circumstances.
  10. As impactful as its rarely told story might be, “Trezoros” would have been better served by a shorter running time or a more focused approach to its central story.
  11. Lopez’s first feature comes across as fragmented and overwrought, with characters and performances that seem to have been egged on by the score’s achingly purposeful piano.
  12. Israeli director Dani Menkin has been especially thorough in telling this classic against-all-odds sports story.
  13. The film over-relies on blunt messaging, one-note villains (bullies, bosses, administrators, worst mall cop ever) and several stacked-deck situations to align us with David and Po, even if we’re inherently on their side from the start.
  14. The film’s quiet impact comes as it leads us along John’s journey to understanding this disability as an unexpected, but ultimately accepted, gift.
  15. The loneliness of the long-distance chess grandmaster is affectingly conveyed in Magnus.
  16. How the then-newbie performers’ jackpot roles in the heady, heartbreaking show informed their lives and careers forms much of the movie’s stirring narrative spine.
  17. A few memorable shots don’t offer enough justification to watch a film that’s not scary, rarely exciting and never as engrossing a puzzle as it means to be.
  18. As a mood killer and conscience-raiser it’s woefully obvious, but also unlikely to erase the sense memory of all the scintillatingly captured fauna that came before it.
  19. See this smart, showboating movie now, before its simmering sense of justice begins to feel like a thing of the past.
  20. Rachel Lang’s first feature isn’t about placing Ana on the road to her life’s purpose; it’s a serpentine trip through impetuous leaps forward and messy retreats.
  21. A striking and maddening delivery system for art house creepinesss.
  22. Once Lion's can't-miss conclusion hovers into view, the film's periodic over-dramatization matters less. A story like this is finally impossible to mess up, and pretending otherwise is beside the point.
  23. Bad Santa 2 relies entirely too much on the salty stuff, offering an opportunity for audiences to titter at the firehose of vile gutter humor that leaves no one unsullied, and delves into some truly dark places.
  24. Rules Don't Apply, as its name implies, is a movie intent on going its own way. It's not without its charms, but there aren't enough of them and they don't readily cohere.
  25. Even when Allied loses its footing, there is something unmistakably touching about Zemeckis’ commitment to evoking a world so quietly, heroically out of step with the times.
  26. The moral of Moana is that playing it safe can have its limits. It’s hard not to agree, even when this lovely, reassuring hug of a movie doesn’t entirely heed its own advice.
  27. Nobody Walks in L.A. rides on the easy, sunny charm of the lead duo, as well as the beauty and personality of the city.
  28. Writer-director-editor Danny Sangra takes on the complicated relationship between art and commerce in the sharp, surprising Goldbricks in Bloom.
  29. Veteran director Roger Spottiswoode, whose output has been spotty in recent years, returns to form with a perfectly weighted redemptive story that engages the heart without shying away from the darker aspects of Bowen’s recovery.
  30. The hyper-dramatic touches help disguise that this is essentially a film about paperwork. The rest of the weight is carried by Fan, who’s funny and heartbreaking. She’s a hero for our times: a stubborn woman, willing to inconvenience the powerful to get a fair hearing.

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