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. Wet Season
    Writer-director Chen, along with the two leads, delicately navigates this story, and the result is something deeply humanist and nuanced rather than sensational, though the rainy milieu adds drama to the proceedings.
  2. Bill Traylor: Chasing Ghosts
    If every picture tells a story, the body of work displayed in the hauntingly intriguing documentary “Bill Traylor: Chasing Ghosts” speaks volumes on the life and times of the artist in question.
  3. Spring Blossom
    Lindon’s youth is remarkable, because her point of view on the experience of the teenage girl is so immediate. But such a confident and self-assured debut would be remarkable for a filmmaker of any age, as “Spring Blossom” is a finely wrought, sensitively felt and artistically bold work.
  4. Truman & Tennessee: An Intimate Conversation
    Vreeland’s documentary serves as both a wonderfully evocative time capsule and a candid tribute to a pair of artistic legends.
  5. Sisters with Transistors
    The film is a vital historical corrective, inscribing the names of these women into history as the innovators, independent thinkers and trailblazers they were.
  6. The Last Days
    What these five and others have to say may be familiar to many by now, but the experiences they lived through are so terrible and told in such riveting detail it’s as if you’re hearing about the Holocaust for the first time.
  7. Faya Dayi
    In eschewing directness of intent for the artful massaging of space, sound and rhythm, Beshir’s film — a very personal project for the Mexican Ethiopian director, which she shot over 10 years — stakes a richer claim to our sense of the place and the effect of its most lucrative crop.
  8. A Hero
    The ability to pull off that kind of moral reversal, to draw you into an almost Hitchcockian complicity with characters at their lowest ebb, is one of Farhadi’s signature strengths as a storyteller.
  9. Beckett
    It’s a ‘70s paranoia movie in the best sense. And this is no hackneyed tribute; it’s complex, murky, propulsive.
  10. The Night We Never Met
    [A] deft and delightful romantic comedy of errors.
  11. No Sudden Move
    The result is a ride that feels smooth and bumpy in all the right places. You are pulled along by the seductive glide of Soderbergh’s filmmaking, by the jazzy riffs of David Holmes’ score and the suavity of the camerawork, only to be jolted into high alertness by the nasty, bloody surprises in Solomon’s script.
  12. A Crime on the Bayou
    A Crime on the Bayou never explodes with fury. But that doesn’t mean you won’t feel enraged while taking in the maddening series of systematic wrongs committed against Sobol and Duncan.
  13. The Price of Freedom
    Clear-eyed, compassionate and compelling, the documentary “The Price of Freedom” efficiently unpacks and debunks the myths it posits the National Rifle Assn. of America has deployed to further its all-guns-all-the-time agenda and foster a culture war.
  14. Red Rocket
    Red Rocket is both a laser-focused character study and a scrappy, scrupulously observed portrait of a tight-knit community.
  15. Cow
    What Arnold manages to make tangibly cinematic in Cow is the soulful spirituality of these animals, their beauty and their emotions. It is as moving as it is devastating, and although this film requires patience and fortitude, it rewards with a singular and perspective-shifting cinematic experience.
  16. Paris, 13th District
    Mostly, Audiard leans assuredly on his actors, gently pushing each one toward a simple, ordinary, never-irrelevant question — what does your character want? — and coaxing forth an utterly unique answer.
  17. Bergman Island
    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.
  18. Hold Me Tight
    I have no idea how this movie’s source material, a play by Claudine Galea, might have worked onstage, in part because Amalric seems to have so fully unlocked the story’s cinematic potential.
  19. Ahed's Knee
    Ahed’s Knee means to shatter your complacency, and also the complacency of its chosen medium. You could see this as a childish act of revolt, or you could see it as Ladiv, much like Y himself, refusing to submit to any agreed-upon parameters. He delights in coloring out of the lines, not least because he knows it will make all the right people mad.
  20. Lingui, The Sacred Bonds
    A taut, strikingly beautiful drama.
  21. All My Friends Hate Me
    This movie is uncompromisingly discomfiting, meant to remind people of all those drunken nights where they overreacted to every well-intentioned joke, and woke up choking on the stench of burned bridges.
  22. Can You Bring It: Bill T. Jones and D-Man in the Waters
    Death and grief may exist in the soul of “D-Man in the Waters” but “Can You Bring It” is full of vitality and energy, a testament to the power of art in the face of tragedy.
  23. Eyimofe (This Is My Desire)
    Through an economy of exposition, Eyimofe, (translated as “This is My Desire”) delivers a timeless, universal portrait of human resilience while establishing Arie and Chuko as a welcome new addition to the filmmaking brood.
  24. Sabaya
    With Sabaya, we witness documentary filmmaking at its boldest; we find hope in seeing not only the triumphs of the Yazidi Home Center but also what the medium can do.
  25. Pig
    Pig is a rich character study, marked by several riveting Cage monologues.
  26. Ascension
    Through her unfussy direction and sly editing, Kingdon’s collection of vignettes is a reminder that the destructively frenzied cycle of consumption and waste always trickles down.
  27. White on White
    In White on White, what permeates is a merited sense of dread, by design too starkly impenetrable on emotional grounds, but direct in its fierce thematic intent.
  28. Farewell My Concubine
    Old-fashioned in form but modern in psychological dynamic, it’s a film that you can lose yourself in, that washes over you like a warm and enveloping mist.
  29. Nitram
    It’s with a gut-wrenching helplessness that we watch the ingredients assemble for what has become our seemingly most preventable modern scourge — someone far gone, armed with what’s all too available.
  30. The Worst Person in the World
    Nobody here actually calls Julie the worst person in the world (that insult is reserved for another character entirely), but you can imagine her thinking it about herself as she considers the mistakes she’s made and the people she’s hurt. But over the course of this charming, wistful, ineffably tender movie, you also see her learn to embrace the possibility of good in herself and in every precious, unhurried moment. It’s time well spent.
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