Los Angeles Times' Scores

For 16,522 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:
16522 movie reviews
  1. A beautifully made, unapologetically artistic piece of work.
    • 84 Metascore
    • 80 Critic Score
    Richard Brooks adapted and directed this superbly acted though watered-down -- all references to homosexuality were deleted -- 1958 version of Williams' popular 1955 play. [30 Apr 2006, p.E14]
    • Los Angeles Times
  2. [Bong Joon-ho] combines a great cast, a gripping idea and a gorgeously grimy retro aesthetic to keep this eerie examination of the train wreck of humanity racing along.
  3. Rare archival footage is intertwined among the film’s historical narrative with an all-too-rare grace — the images we see here lend themselves to a deep and nuanced understanding of Lowndes County at the time; not just the shared, communal efforts but the mapping of both community and anti-Blackness as it materialized through the everyday.
  4. Maybe the most rewarding quality Eephus displays as a first-ballot hall of fame sports movie is the dedication of Lund and company to just being what they are: no-nonsense celebrants of something ephemeral yet enduring.
  5. The Oscar-winning Mon Oncle, in which Tati returned as Hulot, finds the filmmaker in a no less humorous, yet more critical, mood. [02 Feb 1995, p.F4]
    • Los Angeles Times
  6. As is always the case with Leigh's protagonists, Poppy does not fit into a schematic log line, she simply is. She exists with an intensity that few other filmmakers' characters can manage because of the singular way Leigh creates his people.
  7. This fractured fairy tale not only knows there's no substitute for clever writing, it also has the confidence to take that information straight to the bank.
  8. Most fun of all, however, is basking in Chappelle's ability to be effortlessly funny. Whether he's making believe he's a pimp in a Dayton clothing store or charming little kids in the Bed-Stuy day-care center that was concert headquarters, his personality infuses the film with infectious good feelings.
  9. Breathtaking reverie worthy of Fellini.
  10. Star Michael Caine, who gives one of the great, inescapably moving performances in a career filled with them, based his character on personal impressions of the late author. And Greene's lifelong concern with moral ambiguity gives this film a texture and complexity that movies don't usually achieve.
  11. Once again, truth proves stranger than fiction in the raucous and provocative documentary Weiner.
  12. When the movie goes in for an infrequent closeup — a shot of ultrasound gel being smeared on Lynn’s belly or of Lynn’s face as she puts on a surgical mask in the immediate wake of the COVID-19 outbreak — the intimacy is startling, and instructive.
  13. Langley's impeccably nonjudgmental camera knows exactly what details to record. Drawn from more than 300 hours of footage, the film's all too brief 94 minutes mesmerizes with its insight and, rarer still, its beauty.
  14. A major American motion picture, an overpowering piece of work that involves some of the most basic human emotions: love, hate, fear, revenge, despair. Directed by Clint Eastwood with absolute confidence and remarkable control.
  15. Easily its most exciting iteration in decades — the first flat-out terrific “Star Wars” movie since 1980’s “The Empire Strikes Back.” It seizes upon Lucas’ original dream of finding a pop vessel for his obsessions — Akira Kurosawa epics, John Ford westerns, science-fiction serials — and fulfills it with a verve and imagination all its own.
  16. A powerful and effective piece of advocacy filmmaking, but it's difficult to watch it without thinking of subtitles like "The Place Where Evil Dwells" or "The Little Town With the Really Big Secret." Which is no accident.
  17. There's a rawness and immediacy to his (Bujalski's) work that cuts straight to the experience, a starkness that's startling in an age of bloated spectacle.
  18. Wherever you stand on healthcare and the fact that uninsured people nationwide use emergency rooms for basic services, the documentary The Waiting Room is a revealing portrait of the often tough transactions between patients and hospital staff at the urgency level.
  19. The Rescue is a gripping, unsurprisingly moving early account, one that emphasizes the pluck and ingenuity of its heroes and the resilience and beauty of its survivors. To say that it feels necessarily incomplete is to acknowledge the extraordinary and extraordinarily multifaceted story it has to tell.
  20. The tone is dry and spartan — and funny, too, if you don’t mind snorting at someone whose sons died in a marshmallow-eating competition, or giggling over the sobs of a worker weeping in a cubicle for reasons that go unexplained.
  21. Aside from superb ensemble work from an 18-member cast, "Together's sense of human potential is its greatest pleasure.
  22. It's sexy, brainy and slightly nuts.
  23. Few filmmakers juxtapose cruelty and beauty as audaciously as Japan's Takashi Miike. A master director with great style and panache, Miike's latest, 13 Assassins, is a classic samurai movie, right up there among the finest in the genre.
  24. Most gratifying in Newnham’s investigation is how Hite reclaimed her own positive sense of self in exile through some key female friendships: a love goddess finding refuge with like-minded souls after a bruising battle with unenlightened, resentful mortals.
  25. An exquisitely tender tribute to love in its purest expression, The Blue Caftan doesn’t romanticize the complications and conflicts facing its two soulmates, and precisely because of that it feels like an utterly honest tale of romance.
  26. You might want to tuck Damien Chazelle's name into your memory bank if his filmmaking debut, the terrific jazz improvisation that is Guy and Madeline on a Park Bench, is any indication of what his future might hold.
  27. On a par with Bridges' acting, and a sine qua non for Crazy Heart's success, is the excellent music he sings.
  28. Lo’s humane film helps us glimpse the lives of those who are often overlooked, whether they walk the streets of Istanbul on four legs or two.
  29. De Palma's biggest asset, not surprisingly, is the man himself. A formidable talker who is invariably smart, candid and acerbic, De Palma is a person of considerable self-confidence, and listening to him hold forth gives us an always-involving glimpse inside a singular cinematic mind.

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