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. Girl on the Bridge
    Locale is crucial here, and Monte Carlo, Athens and Istanbul are a wonderful trio of cities for glamorous romance, intrigue and danger--and they could not seem more richly atmospheric with Dreujou's lush camerawork.
  2. Fyre
    Fyre makes sure not to lose sight of the hard-working Bahamians who tried hard to make things work and paid a considerable financial price.
    • 75 Metascore
    • 90 Critic Score
    Last Summer
    If anything, Last Summer is more commercial-looking and less shocking than much of Breillat’s previous work, but her eye and her insights are sharp as ever.
  4. Félicité
    If the movie’s form is a rich weave of grotty realism and soulful musical, the story itself is remarkably simple.
  5. The Crucible
    But whenever a film has hysteria as its subject, as this one does, the danger exists that it will become hysterical itself, and “The Crucible,” all its promise notwithstanding, falls into that trap with a demoralizing thud. Rife with screaming fits and wild-eyed rantings, this film is too frantic to be involving, too much an outpost of bedlam to be believable.
  6. Goodbye to Language 3D
    Always looking forward, Godard remains remarkably capable of seeing the world and thinking about filmmaking with clear eyes and fresh ideas.
  7. Time to Choose
    Most of Time To Choose is concerned with demonstrating that, as more than one speaker says, every crisis is an opportunity. That for every human action that increases global warming there are already workable alternatives in place just waiting to be embraced by a wider constituency.
  8. The French Dispatch
    If he is trying to say something (and it’s unclear what that might be), all of the fuss and muss obfuscates any message, and even worse, any emotional connection to the film. This latest dispatch is indeed a profound disappointment.
  9. Under The Wire
    Under the Wire brings a vivid immediacy to this tragic event. Conroy speaks candidly to the responsibility that he feels to survive and to tell the stories of the others, a task that he will carry with him for the rest of his life.
  10. Lost in La Mancha
    Records an accident while it's happening, revealing a situation that makes you laugh again and again while weeping, metaphorically at least, for the sheer frustration of it all.
  11. Blue Velvet
    The most brilliantly disturbing film ever to have its roots in small-town American life. [19 September 1986, Calendar, p.6-1]
    • Los Angeles Times
  12. Bernie
    This is writer-director Richard Linklater at his wry, whimsical best, and considering he was the filmmaker behind 1993's "Dazed and Confused," that makes the movie something of a milestone.
  13. Jinn
    Jinn is a familiar story, told in a cultural context rarely depicted on film, and Mu’min’s approach is so lyrical and empathetic that it feels completely fresh and new. It’s a remarkable film with sensitive and stirring turns by Renee and Missick in the mother-daughter roles.
  14. Road to Morocco
    Road to Morocco is light and airy family entertainment, yet at a time when the Production Code was at its height of power, it is surprising what Crosby and especially Hope, of course, manage to suggest. [07 Jun 2001, p.34]
    • Los Angeles Times
  15. Chasing Ice
    The before and after imagery of Balog's project speaks for itself, with the power and strange beauty of the evolving landscape strong evidence that something is indeed happening, now and fast.
  16. Bridesmaids
    From the first overheated moments of Bridesmaids...it's clear we're in for that rarest of treats: an R-rated romantic comedy from the Venus point of view.
  17. Fever Dream
    Elegantly intoxicating in its atmospheric construction, “Fever Dream” maintains its incantation to its very final twist. Even as clues inch us closer to a logical explanation for the collective malaise, the mystical undercurrent Llosa sets in place fosters our doubt.
  18. Benedetta
    Verhoeven clearly wants us to laugh; the movie’s a gas. But he doesn’t mind if we think too — about the earthy realities of the body, the higher abstractions of the soul and all the thornily ambiguous ways they do and don’t connect.
  19. A Wounded Fawn
    The film is really all of a piece in the way it toys with expectations, keeping viewers off-balance. Stevens and company put the audience in the place of both the predator and prey. They’ve built a clever little anxiety-generating machine.
  20. Tibet: Cry of the Snow Lion
    The most comprehensive and devastating documentary yet on that tragic country.
  21. Queer Japan
    There’s a lot to see and to think about here, all well-curated by a documentarian with a clear passion for his subject.
  22. The Invisible Woman
    The Invisible Woman is an exceptional film about love, longing and regret. It's further proof, if proof were needed, that classic filmmaking done with passion, sensitivity and intelligence results in cinema fully capable of blowing you away.
  23. Tully
    It's one of the more viscerally accurate portraits of parenthood, and specifically motherhood, that the movies have recently given us.
    • 75 Metascore
    • 80 Critic Score
    Elizabeth
    Period movies inevitably reflect more about the period in which they're made than the period of their subject, and rarely has that been more evident -- or more distracting -- than it is with Elizabeth.
  25. Separated
    One wishes that space in Separated had been saved instead for real stories told by the policy’s victims, or perhaps more historical context. Nonetheless, what we glean from the totality of the interviews and research, and Morris’ well-honed style of coalescing information, is damning enough.
  26. Pleasure
    A stirring debut by both Thyberg and Kappel and a daring picture that makes you love it, not for tawdry reasons but for all of the truthful crimes, perils and delights it covers.
  27. The Muppets
    For all its sharpness, the movie has a very sweet streak.
  28. Time Out of Mind
    Given what it attempts, Time Out of Mind should be considered a success. An attempt to use a movie star to shine a dramatic light on the intractable problem of urban homelessness, the film's tone of austerity helps it to avoid sentimentality and simplistic answers.
  29. Darkest Hour
    From its grab-for-all-the-gusto Gary Oldman performance to its direction by Joe Wright, Darkest Hour is nothing if not an energetic, showy piece of work, but some types of showy have more staying power than others.
  30. Dirty God
    Polak’s film is an unflinching exploration of beauty, identity, sex and self in the wake of a life-changing event.
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