Los Angeles Times' Scores

For 16,524 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:
16524 movie reviews
  1. As beautiful as it is harrowing.
  2. A surprisingly vast and involving topic.
  3. It’s a sporadically tense and ominous four-chapter ride that slowly envelops you in its near mythical — at times mystical — neo-western spell.
  4. A delicious and delicately funny look at the residents of a Copenhagen neighborhood coping with the befuddling complications life tosses at them.
  5. Accomplishes beautifully what it sets out to do, which is to reveal the man behind the crusty, hard-drinking, tough-talking persona Charles Bukowski so artfully crafted.
  6. Has an engaging warmth and an effortless sense of life. It also has an instinct for the humanity and universality of situations that are comic, romantic and quite seriously dramatic by turns.
  7. In its ability to let us hear firsthand what life-and-death combat does to the human body and spirit, this film has few peers.
  8. The Last Race is a high art film about a blue-collar subject, and that unlooked-for ability to see beauty in the everyday is what makes it both a surprise and a success.
  9. The strength of “Harry” lies almost entirely in its unusual humanity, the depth of its social observations and its determination to draw everything--even the comic exaggerations--from life.
  10. Gaspar Noe's I Stand Alone has an exhilaration that comes from looking at life at its meanest so unflinchingly that you can actually be amused by the absurdity of the human predicament. [07 May 1999, p.F6]
    • Los Angeles Times
  11. Eventually the film's suspense underpinnings take over its personal story, yet that tension Quaid and Barkin generate still holds.
  12. McGarry has created something that feels personal, vital and revelatory, allowing the rest of us behind the curtain.
  13. When Close and her costars command the screen, we can forgive problems and simply enjoy the proceedings.
  14. What DeBlois has deepened in No. 2, is the film's emotional core. Though there are moments when the tension goes slack, the cast steps up to keep things afloat.
  15. Though its plot frequently falls back on coincidence, so much so that the characters joke about it, Career Girls has the almost magical ability to involve us emotionally with these women even though there are points when we would've sworn that wouldn't be possible.
  16. The nagging lack of specificity with which the film concludes can’t help but call its entire dramatic construction into question.
  17. The slow-motion close-ups alone should convince you these magnificent creatures are well worth the effort.
  18. The considerable achievement of “Birth of the Cool” comes from the way it understands those words and places them in the context of American history. You’ll want to listen to Miles’ music after watching the film and, when you do, you might feel it a little deeper.
  19. After seeing every leaf on every bush in so many features, it’s fun to sit back and enjoy a film that pushes its look and palette beyond mere reality to create a fantasy world that could exist only in animation.
  20. The story of how Wiseau turned his great cinematic lemon into zeitgeist lemonade is both heartening and instructive, but it also hints at darker secrets and unknowns that this movie’s upbeat dimensions can’t entirely capture.
  21. Front and center in all of this, though he clearly would rather not be, is Cunningham himself, a man of enormous good cheer who gets riled only when he fears his creative prerogatives are being infringed on.
  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. If perception has its limitations, this deeply sobering, stimulating film suggests, that may be another way of saying that it is fundamentally limitless. There is so much — too much — to see here, and no end of vantages from which to see it.
  24. Should be required viewing for youngsters thinking about a music career. It's a great reminder to be careful what you wish for.
  25. Because the footage of Szegedi was filmed over a number of years, the documentary reveals different stages of its subject's thinking.
  26. Every Irish speaker in Kneecap wants to be seen, felt and heard in their fight for freedom. That funny, funky riot of attention-seeking pain and pleasure, inspired by the pioneering voices of American hip-hop, makes for a bracing, entertaining transatlantic dispatch.
  27. Its oddball colors and willful wanderings betray a sweet, savory, uncompromising air that showcases Russell's uniquely fused brand of American harmony with rascally ebullience.
  28. Even if some things have changed, spending time with an artist who's concerned, as he's said in interviews, with "the permanence of temporary objects and the temporality of permanent objects," is always worth the journey.
  29. The writer-director is up to his old tricks, creating an onion of an experience -- a movie within a movie within a movie, irony in each layer, poignancy that stings and whimsy that bites.
  30. Grabs you by the throat and won't let go.

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