Los Angeles Times' Scores

For 16,536 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:
16536 movie reviews
  1. With so many sight gags and nearly every living comic in the world making an appearance at some point, the entire operation, like Ron's ego, feels a bit bloated.
  2. Her
    Acerbic, emotional, provocative, it's a risky high dive off the big board with a plot that sounds like a gimmick but ends up haunting, odd and a bit wonderful.
  3. Perry can now knock these films out in his sleep, and with “Madea Christmas” he certainly seems to be dozing at the wheel.
  4. This drama, about an ordinary guy trying to keep his infant daughter alive in Hurricane Katrina's aftermath, is sincere but struggles as much as its hero.
  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. In Binoche's masterfully contained performance, Camille's clouded eyes sometimes brighten. If we didn't know how her story will unfold, that spark might have been comforting.
  7. Zea gives a natural performance amid a neighborhood of painful stereotypes (including a nosy Asian shopkeeper), but she doesn't adjust her cadence, let alone accent, for the historical flashbacks, bringing a modern sensibility that limits the effectiveness of these scenes.
  8. The movie isn't exactly scary, and it has a tendency to meander. But the crumbling, ornate sets are an atmospheric marvel.
  9. [A] captivating documentary.
  10. Although enjoyable, the movie is perhaps best suited to cinéastes already intimate with Bergman's venerated body of work as well as with Ullmann's many acclaimed screen roles.
  11. A compellingly unconventional, elliptical sports documentary that explores the mysterious realm of might-have-been.
  12. Bogliano — who hit it big in indie horror with "Penumbra" and "Room for Tourists" — is a mood man, adept at unease and admirably judicious about shock moments, if not exactly skilled with storytelling or pacing.
  13. Little parallelism or consequence can be gleaned from Kwak's narrative that crosscuts points between 1963 and 2010. Seeing as his surrogate in the first film is absent in the sequel, the shared cultural memory has also given way to genre exercise.
  14. Like art itself, words can't fully capture what it is like to see the Vermeer emerge under Jenison's brush. Or to see Jenison's obsession with the idea run its course.
  15. [Russell's] dizzying, outlandishly entertaining American Hustle is a 21-first century screwball farce about 20th-century con men, scam artists and those who dream of living large, a film that is big hearted and off the wall in equal measure.
  16. Saving Mr. Banks does not strictly hew to the historical record where the eventual resolution of this conflict is concerned, but it is easy to accept this fictionalizing as part of the price to be paid for Thompson's engaging performance.
  17. Jackson's latest go at Tolkien's treasured "Hobbit" story gets closer to that rich alchemy of fantasy, adventure, imagination and emotion that made his "Lord of the Rings" trilogy such a triumph.
  18. The inherent cinematic potential of one of nature's cutest animals rescues the film from being a total waste of time.
  19. Chen's grand opus about the perils of the Internet already feels obsolete.
  20. Live at the Foxes Den comes off like some long-unproduced Broadway musical finally dusted off when someone raised enough money to mount it as a film production instead.
  21. The film is often laugh-out-loud funny while remaining relatively discreet.
  22. Director David Frankel has crafted a sweet, funny, heartfelt film, and while we may know all along how it all turns out, Paul's signature performance still gives us chills.
  23. When it becomes apparent that the seemingly linear narrative is in fact woven with several parallel story lines, one might even be inclined to excuse the plot's too many convenient coincidences.
  24. The more generalized confessionals on friendship and love are a lot simpler to grasp. But the real star is the riot collage of twisty, breakneck visuals underscoring these conversations and battles.
  25. The overall effect here is of parallel biographies juiced to feel important whenever they intersect, and an undercooked paean to lost masculinity.
  26. What this film does is reveal two very different societies — both exhibiting, each in its own way, unmistakable signs of collapse.
  27. The most hopeful — and the best — of this solid and unsettling series.
  28. Director Kim Hyun-seok, who until now has worked chiefly in romantic comedy, deploys visual effects and low-key performances in an efficiently told, character-driven exploration of immortality, hubris and human folly.
  29. Lean, muscular and on the money, The Last Days on Mars takes a familiar story and tells it so tautly that we are pleased to be on board.
  30. While the bleak, funny, exquisitely made Inside Llewyn Davis echoes familiar themes and narrative journeys, it also goes its own way and becomes a singular experience, one of their best films.

Top Trailers