Los Angeles Times' Scores

For 16,550 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:
16550 movie reviews
  1. Raucously funny and surprisingly insightful.
  2. A clever, entertaining stunt, no more, no less.
  3. There is a lot of hope in the air in I Wish, but the film never feels sappy. The very appealing score by the Japanese indie-rock group Quruli brings a kind of upbeat energy that matches the clean, open style of director of photography Yutaka Yamazaki, a frequent Kore-eda collaborator.
  4. The archival footage, the impassioned interviews, and the inspiring story of how warriors for solutions can overcome entrenched views on poverty and health, make for something genuinely stirring.
  5. It’s a stirring and delicately reflective piece of work.
  6. Within "Housekeeping’s” restless, naturalistic aesthetic, Stolevski crafts complex and poignant images, contrasting the playacting the couple is forced to do with their searing gazes.
  7. Maysles' portrait of Iris Apfel, a 93-year-old self-described "geriatric starlet," is surprisingly memorable, graced with an unforced but unmistakable charm.
  8. Though a definite improvement on the last three abortive Star Wars prequels directed by series creator George Lucas, The Force Awakens is only at its best in fits and starts, its success dependent on who of its mix of franchise veterans and first-timers is on the screen.
  9. It’s raw, powerful, moving and candid. This is what it is like to be on the ground in Aleppo.
  10. Henry: Portrait of a Serial Killer is as fine a film as it is a brutally disturbing one.
  11. An old-fashioned weepie tucked inside a fiercely indicting political thriller.
  12. At a time when so many in this country are at odds about what represents America at its best, it's refreshing and then some to see a film that everyone can agree is an example of exactly that.
  13. Though she’s a first-time director, Costin has put together a film that’s a savvy cinematic education as well as pure fun. If you care about the movies, don’t even think of staying away.
  14. Sober and heartfelt, Union lets us see what Amazon and the world would soon discover about the power workers have when they invest in their dignity first.
  15. My Dog Tulip is as disconcerting and unusual a piece of animation as the 1956 memoir that inspired it, and that is saying a lot.
  16. By turns Dickensian, Marxist and dystopian, it's a movie as deliriously unclassifiable as it is expertly focused in its desire to provoke and entertain.
  17. Freaks is a wild ride, but it's not the monster-trip some say it is. It is macabre and disturbing, but Browning chose to humanize the deformed characters at the movie's shadowy center, not to demonize them.
    • 80 Metascore
    • 80 Critic Score
    If there are to be gangster pictures, let them be like The Public Enemy, hard-boiled and vindictive almost to the point of burlesque.
  18. A substantial film of unexpected emotional force. And when at a certain point it seems to slip the bonds of this world and take a leap of faith into an almost mythological dimension, it breathlessly takes us along for that memorable ride.
  19. What happens to Charley, the film posits, the bad and the good, is not so much the fault of specific individuals but of the indifferent dead ends built into America's despairing culture of the underclass. Your heart goes out to this striving, yearning young man, and that's a tribute to the fine filmmaking on display.
  20. The result is a wonderfully humorous take on a seldom-broached subject.
  21. For Huppert, most celebrated for her uncompromising severity in films like "Elle" and "The Piano Teacher," the movie is an opportunity to cut gloriously loose; no less than Claire herself, she seems to be enjoying her holiday.
  22. Even Hansen-Løve’s characteristically light, unassuming touch feels like a playful rejoinder to the weight of the Bergman mystique, a refusal to let him dictate the terms of the argument.
  23. In its gently atmospheric camerawork and nicely underplayed moments between Mike and Chris, Resolution manages to keep its eerier moments surprising and its emotional life arresting.
  24. Aida’s Secrets movingly embodies the traumas that, at war’s end and long after, are inseparable from liberation.
  25. Whatever you think of “Barbie,” the mere existence of this smart, funny, conceptually playful, sartorially dazzling comic fantasy speaks to the irreverent wit and meta-critical sensibility of its director.
  26. It's not the kind of work that wins awards, but without Cruise's intensity almost willing our interest in Spielberg's unrelentingly dark world, Minority Report wouldn't have nearly as much life as it does.
  27. Zagar, judiciously adapting the book with Daniel Kitrosser, submerges the audience into their world from the outset, presenting a fluid stream of bittersweet and vivid episodes from the family’s life that gradually build into something profound.
  28. The screenwriter, Nicole Taylor, and the director, Tom Harper, compose their story in clean, stirring melodic lines that they return to again and again, treating Rose-Lynn’s many setbacks — as well as her small, crucial steps toward growth and self-discovery — like subtle variations on a refrain.
  29. In some ways, it reminded me of the final "Seinfeld" episode. As much as I laughed throughout, I kept wondering what was with all the emotional lessons.

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