Los Angeles Times' Scores

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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:
  1. Positive: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Under the Tree
    Screenwriters Sigurdsson and Breidfjord are fiendishly good at imagining the complimentary ways things spiral out of control, and the actors are expert at making us believe in what the director accurately calls “a war film where home is the battlefield.” On another level, however, with situations so grotesque it is often an effort to laugh.
  2. Attack the Block
    Pulsing with a rowdy energy, the film works as both a sci-fi horror flick and a teen adventure film.
  3. Elizabeth Taylor: The Lost Tapes
    All in all, Burstein’s film feels big and perceptive, a love letter to a remarkable, interesting and very human human.
  4. Get Me Roger Stone
    [An] endlessly fascinating, bracingly up-to-the-minute Netflix documentary.
  5. The Count of Monte Cristo
    Delaporte and De La Patellière understand that Dumas’ type of novelistic revenge, whether froid or chaud, is best served onscreen in the most picturesque European locations, with cinematographer Nicolas Bolduc’s cameras ready to swoop and soar as needed, and paced to gallop, never dawdle.
  6. The Wolf of Wall Street
    A very fast three hours, Wolf is a fascinating, revolting, outlandish, uproarious, exhilarating and exhausting master work on immorality.
  7. Notes on Blindness
    The film’s quiet impact comes as it leads us along John’s journey to understanding this disability as an unexpected, but ultimately accepted, gift.
  8. Zombi Child
    Even when the picture eludes your narrative grasp, its estimable craft — evident in the shadows of Yves Cape’s photography and the moody ambience of the score, which Bonello composed himself — exerts its own hypnotic pull. The director’s talent, as ever, is predicated on an avoidance of the obvious.
  9. Terror's Advocate
    It is the gift of Terror's Advocate, Barbet Schroeder's riveting new documentary, to simply present Vergès as is, to say "here is the man" and let things speak for themselves. Do they ever.
  10. Nothing Lasts Forever
    Kohn’s talking heads are remarkably animated and, collectively, the interviews present a provocative debate about the meaning of “valuable.”
  11. I don't feel at home in this world anymore.
    In the end, it is the wit, warmth and coherence of Lynskey’s performance that lends this violent comic scherzo both its cruelly demented narrative logic and its curiously cheery aftertaste.
  12. Dark Horse
    A sweet if underwhelming documentary with plenty of character, but told in such a simple and gentle way, it doesn’t quite grab audiences as it could.
  13. Sweet Land
    A type of American independent we don't see often enough.
  14. One Cut, One Life
    The film is an exploration of art as a way through immense and complex emotions. It is unexpectedly a breathtaking reminder of life's joys — in nature, in friendship and, in a particularly buoyant scene, in the bark of a deceased friend's poodle.
  15. The Two Popes
    Among the virtues of The Two Popes, a sparkling confection with a serious side, is that, given its prosaic title, its crowd-pleasing attributes come as pretty much of a surprise.
  16. Muscle Shoals
    Director Greg "Freddy" Camalier skillfully, unhurriedly unfurls a wealth of classic music-biz tales as told by a who's who of R&B, soul and rock 'n' roll royalty and various other players and purveyors.
  17. Notturno
    Of course, our desire to know more may be the aim in his making art out of civilization’s rubble — that he can get us to pay attention through the sheer majesty of how he pays attention, hopefully making for true engagement, not mere spectating. Still, sometimes you just want more than what you’re given. That’s human too.
  18. Misery
    As compelling as Misery often is, I can't say that I really enjoyed it a whole lot. It's too flat-footed and vise-like. Reiner doesn't provide the kind of nasty, sophisticated finesse that might have lifted the film out of pulpdom and into more Hitchcockian terrain. [30 Nov 1990, p.F1]
    • Los Angeles Times
  19. Harry Dean Stanton: Partly Fiction
    At the film's heart is a fitful conversation that unfolds like a string of koans, epigrams, jokes and silences.
  20. Win Win
    Pure pleasure to experience. Written and directed by Tom McCarthy with an impeccable feel for off-center human comedy at its funniest and most heartfelt, its low-key qualities are so relaxed and unforced every moment feels like a gift.
  21. Clean
    Clean is one of those movies that's slightly off the mark in ways that are hard to put a finger on, but it is shot so soulfully and features such beautiful performances that it's easy to forgive the occasional false note.
  22. A Cry in the Dark
    With the same painstaking care that made John Bryson’s “Evil Angels,” the book on which the film is based, incontrovertible, Schepisi builds his mosaic with Australian faces and voices crisscrossing every social class and occupation.
  23. David Lynch: The Art Life
    Lynch devotees should dig this respectful, offbeat portrait.
  24. Heaven Knows What
    Despite the undeniable novelty of having Holmes on hand to keep it real, the absence of traditional character development ultimately takes its toll on viewer empathy.
  25. The Son of Joseph
    The Son of Joseph transforms from a lark into a revelation in its final scenes, which are piercing, absurd and pretty close to miraculous.
  26. Touch the Sound: A Sound Journey with Evelyn Glennie
    A potent and imaginative creative biography of virtuoso percussionist Glennie.
  27. Jing Ke ci Qin Wang
    A stirring, thought-provoking feat of filmmaking, accomplished in every facet.
  28. The Cider House Rules
    That Irving adapted his novel to the screen himself and, even more, that Hallström directed it, makes Cider House a far better film than other film adaptations of Irving's work.
  29. Tumbleweeds
    One of those wonderful, deeply personal pictures that pop up every now and then to lift your spirits.
  30. Croupier
    Intense, hypnotic, assured, Croupier mesmerizes from its opening image of a roulette ball on the move.
    • Los Angeles Times
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