Los Angeles Times' Scores

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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:
  1. Positive: 8,698 out of 16523
  2. Mixed: 5,808 out of 16523
  3. Negative: 2,017 out of 16523
16523 movie reviews
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  1. Deep Water
    Disturbing, unnerving and wire-to-wire involving, Deep Water is the story of a dream that got so wildly out of hand that it ensnared the dreamer in an intricate trap of his own devising.
  2. The Force
    The result, unusual in a documentary involving the police and the public, is a film that does not advocate for anything but the truth, one that aims to show what happens on both sides of an issue rather than coming down in favor of one or the other.
  3. Lorna's Silence
    A gritty, deceptively low-key, no-fuss, no-frills movie of consistent originality and surprise in which suspense arises straight up from the heroine's evolving character.
  4. California Typewriter
    Doug Nichol’s documentary California Typewriter is a rich, thoughtful, meticulously crafted tapestry about the evolution of the beloved writing machine for purists, history buffs, collectors and others fighting to preserve or re-embrace analog life.
  5. Other People's Children
    Partly drawn from Zlotowski’s own personal experience, Other People’s Children sneaks up on you, with a depth and complexity of feeling that throws those glossy, idyllic opening moments into bittersweet relief.
  6. Holiday
    Eklöf doesn’t seem to care if you like her film or her characters — including the protagonist — and it’s this boldness that keeps you watching.
  7. I Am Not a Witch
    Nyoni, working in English and the local language of Nyanja, has an unforced way of dealing with themes like exploitation, oppression and superstition, showing how easy it can be for nonsense to pass itself off as sense.
  8. Clouds of Sils Maria
    Stewart does exactly what Valentine describes as Jo-Ann's great gift — she becomes the character, completing disappearing inside Valentine. It makes the interplay between Binoche, a master of that sort of disappearing act as well, and Stewart mesmerizing to watch.
  9. Coraline
    A remarkable feat of imagination, a magical tale with a genuinely sinister edge.
  10. Jezebel
    Jezebel is a reminder that in everyday human stories is proof that the world is wide, and that in going behind the doors that movies rarely open, there are even more worlds worth discovering.
  11. The Uncondemned
    Its conclusion, and its well-earned message, are more positive and hopeful than even its participants likely ever imagined they would be.
  12. Demon
    Perhaps it’s best to appreciate Demon not for what it implies but for what it simply and unmistakably is: A bravura testament to a talent silenced far too soon.
  13. Gasoline Rainbow
    This wild, vicarious ride through youthful adventure is absolutely worth taking, for your own nostalgia and for the reminder that the kids are indeed alright.
  14. Eternity and a Day
    Working with cinematographers Giorgos Arvanitis and Andreas Sinanos and composer Eleni Karaindrou, whose beautiful and stirring score greatly reinforces the film's impact, Angelopoulos has created another masterpiece, one that recalls such classics as Bergman's Wild Strawberries and Kurosawa's Ikiru (To Live). [28 May 1999, p.F6]
    • Los Angeles Times
  15. Light From Light
    Harrill is awfully good at ambivalence, at teasing out the feelings of people who are uncertain what they want and in no hurry to talk about it — a condition that afflicts more characters than we often see in American movies, independent or otherwise.
  16. Introducing, Selma Blair
    She may have a terrible co-star inside trying to upstage her, but with humor, strength and messy honesty, Blair makes a memorable case for why her show must go on.
  17. Too Late to Die Young
    Even as it borrows a few beats and riffs from the coming-of-age drama (and from Sotomayor’s own childhood), Too Late to Die Young is marked by a fascinating open-endedness, a strange and intriguing reticence as to who and what it’s really about.
  18. Goodbye First Love
    Nothing is rushed, everything is given its appropriate time and place. When we watch Hansen-Løve's films, we're not only experiencing a life unfolding before us, we're also realizing what a great privilege it is to be able to do that.
  19. Little Miss Sunshine
    As ambitious, honest and subversive as any American movie since "Election."
  20. The Endless
    Great use of an eerie Southern California landscape and some fine, naturalistic acting emphasizes how the ordinary can sometimes seem threatening — and vice-versa.
  21. Indivisible
    There's plenty of tawdry glamour, exploitation and grime on offer in this tale of awakening, and through it all, the sisters' bond is its own abracadabra.
  22. Sweetgrass
    Sweetgrass is an unexpectedly intoxicating documentary, unexpected because it blends high artistic standards with the grueling reality of one of the toughest, most exhausting of work environments.
  23. All Is Well
    It has a cumulative power, as Trobisch focuses on the small details, looking closely at a woman who doesn’t want to be defined by the thoughtlessly inhumane thing someone else chose to do.
  24. Liyana
    The children’s stories alone would have been compelling, but illustrating them in this medium adds even more depth, nuance and emotion.
  25. The Old Man & the Gun
    It’s a puckish film with a wistful quality, a gently comic end-of-the-line adventure about doing what you love, the passage of time and the things that might have been.
  26. Tarzan
    We may have seen it all before, but when it's done up like this, experiencing it all over again is a pleasure. [16 June 1999, Calendar, p.F-1]
    • Los Angeles Times
  27. The Four Times (Le Quattro Volte)
    In only his second feature, Frammartino has found a fresh and ravishingly poetic and beautiful way to explore the relationship between the spirit, man and nature.
  28. The War of the Roses
    Biting and vicious, a styptic pencil on the battered face of "civilized divorce." It's also thoughtful, laceratingly funny, and bravely true to its own black-and-blue comic vision. [8 Dec 1989]
    • Los Angeles Times
  29. Linoleum
    West has a lot on his mind with this film; and he’s ultimately less interested in explaining everything happening onscreen than in free-associating about the complicated, lifelong relationship between children and their parents. But Gaffigan’s everyman presence and seeker’s soul make him a great vessel for big ideas.
  30. The Last of the Unjust
    The Last of the Unjust, like Lanzmann himself at his advanced age, is ungainly but powerful.
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