Los Angeles Times' Scores

For 16,520 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:
16520 movie reviews
  1. The resulting genre stew is rich and flavorsome, if also somewhat chunky and uneven. The characters are thinly drawn by design, but Mendonça Filho and Dornelles know how to use the magnetism of their actors to maximum advantage.
  2. As with its beloved subject and his enormous catalog of multiplatinum earworms, the movie’s familiarity turns out to be crucial to its charm.
  3. Weçel’s documentary is aimed at broadening the audience for “Loving Vincent,” yet it is also a wonderful tribute to the vision and craft of independent moviemaking.
  4. These kind of indie neo-noirs can be little gems when done well. Here though, directors Kevin and Michael Goetz and screenwriter Michael Arkof have delivered something largely devoid of style or narrative tension.
  5. A dispiritingly familiar story.
  6. There’s nothing particularly awful about the film (title aside), but it never develops into the “Shaun of the Dead”-like social satire it strains to be.
  7. While the “Wait Until Dark”-like suspense of the film’s climax feels a little rote, that’s OK, because the foggy depiction of a troubled marriage is plenty disturbing.
  8. It’s a grim vision, sure. But it’s a compelling one too, using the flash of a space opera to remind viewers that — whether on the ground or in the stars — we’re stuck with each other.
  9. Although ostensibly set in the present day, this odd, frightening and entrancing little movie seems stuck in a moment out of time.
  10. The movie, which comes off strangely wide-eyed about such “outré” things as marijuana and same-sex attraction, evokes some 1970s-era George Segal vehicle as it struggles to pair hip defiance with come-to-Jesus-style pathos, the latter of which provides a few of the film’s more compelling moments.
  11. Far more than simply “The Longest Yard” with hoops, the remarkable Q Ball serves as a potent illustration of the redemptive powers of team camaraderie.
  12. The Serengeti Rules celebrates not only the diversity and beauty of the natural world but also recognizes the transformative power of curiosity and knowledge.
  13. Heightened but airless, this “Castle” is like a checklist of the novel’s peculiarities, rather than its singular soul brought to life.
  14. The story takes some unbelievably tragic twists and turns, and along the way, Dastmalchian unfolds a riveting performance, aided by Schiffli’s beautiful and unobtrusive style.
  15. It’s an old-fashioned injustice barn burner with narrative and emotional beats so sturdy you can practically see the rivets. But on the big screen, it’s just not convulsive enough to stir us and instead feels trapped in a limbo of not quite awards-prestigious, but not exactly indie-fired.
  16. It’s a heavy lift that, to do her efforts justice, required a more dimensional, broadly contextual and, for a movie about art, visually adept depiction than first-time filmmaker Rynecki has managed.
  17. A lovely, charming and gently transporting journey.
  18. Director Russo-Young, whose roots are in independent film, has brought a bit of a welcome indie sensibility to the proceedings.
  19. Parabellum excels when it tees up the sublimely inventive and wince-inducing close quarters fights with the lethally graceful Reeves baring John Wick’s psyche and soul between reloads and headshots.
  20. While Just Say Goodbye reveals the filmmakers’ inexperience, with a bit of finesse, Walting could be a promising new voice.
  21. For her directorial debut, Vilaysack has made an authentic documentary that deals honestly with issues of identity, immigration and family. There’s little self-editing here, giving the audience insight into her pain, an experience that is both moving and uncomfortable in its raw state.
  22. It’s a one-day-at-a-time kind of portrait that’s dispiriting, unsettling and undeniably authentic.
  23. A thin plot and a distractingly jaunty score hold The Bastards’ Fig Tree back. But for the most part, this is a thought-provoking historical fairy tale about the values — and grudges — that survive whomever’s in power.
  24. The vibrant visuals contrast with a muddled narrative, leaving the audience less satisfied than the characters.
  25. An eternal nurturer, the black mother whom Allah dissects and praises in this transfixing hymn of a movie about the place where the woman that gave him life was born is far more than just a homeland but a direct link to the answers about existence.
  26. At its intimate best, Merata is an embrace and an education, a son’s love letter and for cineastes, a celebration of inclusion and voice.
  27. This almost unclassifiable Brazilian horror film is one of the most assured, unconventional genre pictures of recent years.
  28. Shéhérazade wins us over with what we love about love: its strength in even the direst of circumstances.
  29. This frequently fascinating, frustrating study in naiveté, personal turmoil and self-discovery leaves the viewer stranded in process.
  30. The step-by-step examination of how so many smart people with such a good idea failed so badly results in a film which offers up not only a crackling story but also enough lessons that it could be a Harvard Business School case study all by itself.

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