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. Garrone achieves something uniquely colorful, disturbing and trenchant about self-perception in an increasingly fishbowl-like society.
  2. If there's a theme to this group of films it's the richness of imagery gathered from a variety of forms including hand-drawn, computer-generated and hybrid work. Ink, pixels and clay are brought to life with equal parts darkness and light to evoke stories and moods that are anything but conventional.
  3. (A)beautifully shot, fascinating film.
  4. Bernal and Furstenberg exist within this meditative space with all the ease and unease of a couple still trying each other on for size. The forces that push and pull them feel so rooted in reality that if not for the layers of meaning it might seem a complete improvisation.
  5. Both a fine introduction for those who don’t know the work and a thoughtful examination of the issues surrounding him for those who do.
  6. Oldman, working with ace cameraman Ron Fortunato, has a real feel for the cinematic, and Nil by Mouth has a driving, jagged style that is complemented by Eric Clapton's often melancholy score. Oldman's key achievement is to make you feel for people you wouldn't want to know in real life. [06 Feb 1998, p.F12]
    • Los Angeles Times
  7. What we see on-screen is both rewardingly jagged and uncommonly thoughtful, an engrossing family drama that doubles as a sharp rethink of how a family operates within the overlapping, often overbearing spheres of race, class, sports and celebrity.
  8. With every added account of shameful contrition, the realization that this issue exists very much in the present tense weighs heavy on the viewer.
  9. To some extent, Shirley delights in its own dissembling, but it also uses these complications to arrive at a place of startling truth. The sorcery in which Jackson claimed to dabble in real life finds a cinematic corollary in the movie’s bewitching late passages, which are by turns disorienting and illuminating.
  10. The movie is a savage attack on the egomania that enables a director to fancy himself a deity, as well as the rotten patriarchies that govern the worlds of art, industry and religion alike, with Lawrence embodying the wise but perpetually ignored voice of the divine feminine.
  11. Once the stage is set and the more intense plot elements of Black Souls kick in, the film's emphasis on character and setting pays off, just as the muted nature of the storytelling adds to its considerable power.
  12. Buscemi handles all of this with a casualness that seems exactly right for the milieu. His characters aren't caught up in a great dramatic crisis, they're caught up in everyday life, going over these events like so many speed bumps in time. [18 Oct 1996, p.F12]
    • Los Angeles Times
  13. What might seem unlikely to endure beyond standard sketch length proves surprisingly resilient in the hands of directors Clement and Waititi, the team responsible for the equally droll "Flight of the Conchords."
  14. The Usual Suspects is a maze that moviegoers will be happy to get lost in, a criminal roller coaster with twists so unsettling no choice exists but to hold on and go along for the ride.
  15. It is designed to be fun, efficient and accessible and delivers precisely and exactly on that and nothing more.
  16. This expertly constructed film follows the curious and tragic life of the troubled chess icon as he went from child prodigy to global legend to paranoid recluse.
  17. It's fascinating to see the exceptionally charismatic Fassbender squeeze himself into the role of the aristocratic, restrained Jung, and it's just as enjoyable to see Mortensen bring an unexpected virility to his sybaritic, cigar-chomping Freud.
  18. A tragedy devastating to experience can feel generic when transferred to the screen, and that, despite everyone's best intentions and an outstanding performance by Nicole Kidman, is what happens with Rabbit Hole.
  19. Disco's exceptional acting ensemble is especially successful at capturing the brittle rituals of this specific group of genteel, well-spoken young people on the cusp of adulthood.
  20. As adult animation goes, Birdboy is its own weird, woolly and surprisingly sensitive foray into the grimmer corners of life. But at its best, when Vázquez and Rivero hit the right mix of melancholy and acidic in their battered fever dream, it plays like a troubled schoolkid’s secret drawings brought to colorful, if unapologetically horrific, life.
  21. “Cassandro,” which recalls the grabbed verve of a ‘60s-era verité snapshot, charts the reluctant dimming of this extravagant icon with affectionate energy and lasting poignance.
  22. Rather than exploiting her sorrow-fueled mission for a “Taken”-like revenge spectacle, the verité social drama understands Cielo’s determination to find answers not as mere courageousness, but a tragic, nothing-left-to-lose lack of concern for her own safety.
  23. It’s more a feel-good recap of an impressive championship run. But the game analysis is keen, and the arc of this story is undeniably inspiring, arguing that victory is sweeter when it springs from a common purpose.
  24. The Last of the Mohicans comes at you like a tomahawk. Hard, fast and brutal, it slashes at your throat and just about leaves you for dead. Undeniably exciting as this definitely is, however, its impact comes at the expense of some of the gentler virtues, qualities that even top-drawer barn-burners really shouldn't ignore.
  25. [Barden] becomes the vessel to express Riegel’s quiet cri de coeur, which is not just yearning to escape one’s own circumstances but the absolute necessity of it.
  26. The emotion and the horror might have taken still deeper root if the world of the movie felt less hectic and more coherently realized, if the supernatural touches and occasional jump scares welled up organically from within rather than feeling smeared on with a digital trowel.
  27. Leo and María — and, judging from their on-screen rapport, Amalia and Ale as well — spin on a wavelength where their irrational lifestyle and coping mechanisms are logical to their comprehension; we are only lucky to be invited to visit this two-people planet for a short while.
  28. Finely made and richly satisfying film.
    • 76 Metascore
    • 90 Critic Score
    Richly imagined, gracefully written and delicately realized. [10 Mar 2001, p.F15]
    • Los Angeles Times
  29. Director Wes Anderson, who also co-wrote the "Royal" script with actor Owen Wilson, unquestionably has one of America's most distinctive filmmaking sensibilities, but that is part of the problem. As my mother used to say, too good is no good.

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