Los Angeles Times' Scores

For 16,523 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:
16523 movie reviews
  1. A Hijacking is as lean, focused and to the point as its title.
  2. Make no mistake, "We Steal Secrets" is a sprawling, ambitious, major work — a gripping exploration of power, personality, technology and the crushing weight that can come to bear on those who find themselves in its combined path.
  3. A moving and joyous behind-the-scenes documentary about a world filled with big, bold personalities and the music they make.
  4. This documentary provides an elegant, enthralling peek behind the curtain and into the you-won't-trust-your-eyes world of this celebrated contemporary conjurer.
  5. The Attack rewards your patience. Though it's never less than involving, it grows in stature as it unfolds and ends as a more subtle and disturbing film about love, loss and tragedy than we might initially expect.
  6. Post Tenebras Lux is that real rarity in cinema, a visually striking archaeology of the psyche that benefits both the moviegoer primed to engage Reygadas' ideas, and the ones open to being swallowed in an art film wave.
  7. It's the flesh-and-blood lead performance by Iranian actress Golshifteh Farahani as a profoundly conflicted Muslim wife and mother that seals this cinematic deal. She's superb.
  8. A transfixing, emotionally complex Israeli drama.
  9. Director Judy Chaikin, who co-wrote the film with its deft editor, Edward Osei-Gyimah, infuses this fine portrait with grace, nostalgia and a well-calibrated dose of social commentary.
  10. Joy and redemption aren't exactly punk mantras, but A Band Called Death might just give your heart a thrashing.
  11. Zeroing in on the art of rehearsal, Becoming Traviata is an exquisitely observed look at performance and the creative process.
  12. [A] captivating documentary.
  13. It's a great trick the filmmakers have pulled off to make us feel as if we're there sorting through the memories with him. The movie's editing is especially artful with Maya Hawke and Casey Brooks doing the nipping and tucking.
  14. Intimate in the telling, sweeping in the implications, Loznitsa has created an unusually incisive film.
  15. Bastards is a thriller truly etched in darkness, pools of black broken mostly by the stricken yet soldiering faces of her main characters, like ships in a sea of stormy nights.
  16. As its name promises, The Great Beauty is drop-dead gorgeous, a film that is luxuriously, seductively, stunningly cinematic. But more than intoxicating imagery is on director Paolo Sorrentino's mind, a lot more.
  17. As the secrets that almost everyone is hiding slowly but inexorably come to light, Farhadi's gifts as a very specific director, someone who knows exactly how he wants every scene to be played, come to the fore, adding honesty and involvement to a plot that might seem artificial in other hands.
  18. It is a caustic, comic, cerebral romp for a long time before it hits you with its best shot — some Polanski-worthy darkness.
  19. The conflicts involved are intense and absorbing, proving that compelling moral dilemmas make for the most dramatic cinema.
  20. Wish You Were Here is mystery moviemaking at its most intriguing.
  21. Naked is a mesmerizing character study, an attempt to stretch the emotional boundaries of truth on film as far as they will go. For once we think we've seen as much of Johnny as we can take, like an etching by Escher we start to see something else, a glimpse of another person easily missed.
  22. If this all sounds fairly rote, it's far from it. That's because the filmmaker largely eschews done-to-death family dynamics, forced obstacles and predictable responses for authentic interaction, organic humor and a hopeful vitality.
  23. The exquisitely calibrated Breathe In explores such a fraught mutual passion with honesty, intimacy and complete emotional involvement.
  24. To has a great mastery of timing; he knows just how long to let a look linger before cutting away, how little he can reveal without losing us. The director keeps you guessing until the very end whether Choi or Zhang, or someone else entirely, will be the last man standing.
  25. Filmmakers Martha Shane and Lana Wilson, whose profiles in courage are sympathetic but not adulatory, have crafted an absorbing, thoughtful report.
  26. One of the pleasures of Enough Said is watching Louis-Dreyfus and Gandolfini, two well-known performers only Holofcener would think of putting together, come alive both as individuals and the two halves of a relationship.
  27. This is a taut psychological study, based on a true story, of the complexities of personal power relationships that begins with the kind of shattering revelation that would be the conclusion of most films.
  28. Expertly put together by editor Amy Linton, AKA Doc Pomus uses its wealth of material to create the sense of a man with a genius for putting undistilled emotion into his songs.
  29. It is the kind of distinctive, culture-driven drama from emerging filmmakers that I wish we saw more of.
  30. It's unique, powerful stuff.

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