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. Nathaniel, a native of Pakistan, has delivered a stunning, emotive work that takes to task oppressive patriarchy. It's a gorgeous, suspenseful cinematic achievement.
  2. Finlay unearths a fascinating biography filled with reversals, comebacks and false starts.
  3. The film surprises with the amount of genuine emotion it generates with its focus on love, loyalty and what matters most in life, to humans as well as toys.
  4. Though it would be unrealistic to expect "Incredibles 2" to have quite the genre-busting surprise of the original, it is as good as it can be without that shock of the new — delivering comedy, adventure and all too human moments with a generous hand.
  5. Even as it moves from tender ethnographic portraiture into a realm of hushed, intimate tragedy, Ixcanul quivers with a fierce if understated feminine energy.
  6. Don't mistake the brief running time of India's Daughter for a lack of importance or ability to involve. Though it lasts only 63 minutes, this documentary's impact is devastating.
  7. It's a very, very funny film but also sweetly sad and poignant, echoing the mix of humor and pathos that marks a New Yorker cartoon exactly what it is.
  8. Collectively, the mixed approaches illuminate a complicated man, at once spiritual and temperamental.
  9. Only Yesterday is a realistic, personal story made universal in a delicate way.
  10. It recognizes that our most cherished legends are an endless source of consolation in times of suffering and loss, as well as a vital repository of cultural and generational memory. If that message sounds trite or familiar, it has rarely been driven home with this much conviction and intensity of feeling.
  11. Written and directed by the gifted first-timer Kelly Fremon Craig, and graced by a superb star turn from Hailee Steinfeld, The Edge of Seventeen is the rare coming-of-age picture that feels less like a retread than a renewal. It’s a disarmingly smart, funny and thoughtful piece of work, from end to beginning to end.
  12. Employing a restless, constantly moving camera and deliberately isolating soundscapes, the meditative and often mesmerizing film confronts the global issue of swelling immigration in the face of steely bureaucratic indifference with a disarming grace and palpable humanity.
  13. Colliding Dreams is a film of ideas and a film of history, a thorough and engrossing look at the root causes of the tortured relationship between Israel and the Palestinians.
  14. Ira Sachs’ beautifully observed Little Men zeros in on teen-spirit qualities that might, by conventional standards, be considered less cinematic: creativity and innocence, a tender spark brought to life by terrific newcomers Theo Taplitz and Michael Barbieri.
  15. It’s terrific — a quick-witted entertainment, daring and familiar by turns, that also proves to be sweet, serious and irreverent in all the right doses.
  16. While the situation seems at times dire, Trapped contains a distinct hopeful streak that is at once defiant and singularly human.
  17. It’s been a while since a film so powerfully evoked the thrilling possibilities and wasted pleasures of the open road.
  18. The strength of The Witness lies in its recognition that the truth is often not just elusive but unattainable.
  19. At every turn, Reichardt confounds predictability, confronting us with the awful banality of many people's everyday lives rather than providing her characters with an escape from it. Yet Reichardt is so agile, ingenious and funny that she can make a lively, entertaining movie about how life isn't like the movies.
  20. Every once in a while, a small, unheralded film comes along, so smart and funny, such a pleasure to experience, you can't believe your luck. Hunt for the Wilderpeople is such a film.
  21. If this labor-of-love portrait is any indication, forgetting Frank Zappa is not going to happen any time soon.
  22. Lo and Behold: Reveries of the Connected World is just the kind of percolating, wry probe we need into this fast-moving, digitally monopolizing age.
  23. It's heartbreaking stuff, and Newtown handles it all with a gentle grace.
  24. The story floats along like an intoxicating cloud of vice — an effect that Wood achieves with a throbbing, surging soundtrack and an alternately propulsive and hypnotic sense of camera movement. By the time the sensory rush dissipates and the hangover sets in, only Wood’s sharply observant social critique remains.
  25. The real skill in Lane’s colorful tale about self-made millionaire, “inventor” and maverick John R. Brinkley is that it revels in how fun it is to believe in the unbelievable, and how sinisterly effective the mixture of fact and fiction can be. That includes, Lane eventually reveals, documentaries themselves.
  26. The movie may look like disposable goods — it’s a sequel, a shoot-’em-up, starring an actor too often treated as a punchline — but it is also a connoisseur’s delight, a down-and-dirty B-picture with a lustrous A-picture soul.
  27. Crass and macabre, yet big-hearted, it makes a wonderfully adult bedtime story.
  28. Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience.
  29. Faucon, whose own grandparents came to France without speaking the language, has a gift for artfully removing the melodrama from potentially overheated situations, leaving behind a scenario that is honest, direct and dramatic without any sense of special pleading or situations pushed too hard.
  30. What pulls us into Fireworks Wednesday is the universality of the emotions its characters display and the familiarity of the situations they find themselves in. Farhadi is a master navigator of these waters, and even his earlier films reward our close attention.

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