Los Angeles Times' Scores

For 16,550 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 2.2 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:
16550 movie reviews
  1. Aretha Franklin didn’t transcend the gospel or gospel music; as first her album and now this marvelous documentary remind us, she did more than most to fulfill its potential for truth and beauty, devotion and art.
  2. This wise and insightful film is delicate, poignant and unexpectedly powerful.
  3. 8 Remains has a cool premise, but director Juliane Block and screenwriter Laura Sommer (with dialogue assistance from Wolf-Peter Arand) treat it more as a metaphor than as a storytelling opportunity.
  4. The characters and story take a backseat to the movie’s message — which is as subtle as a roundhouse punch.
  5. The cast of Texas Cotton is good company, and the location’s a nice place to hang out for an hour and a half. But all these nice folks are worthy of more than such a flat, featureless story.
  6. By the time the Tinker fantasy elements kick in, they seem more like an afterthought than the reason this movie was made in the first place.
  7. With scares at a minimum, Astral relies heavily on its young cast, who are all likable and charismatic. Dillane and Idris and the others are undoubtedly destined to appear someday in movies and TV shows far more memorable than this one.
  8. The Cleaners makes clear how when it comes to the Internet, the more private corporations decide what we all get to “like,” the worse off we’re all going to be.
  9. [An] enlightening, life-affirming documentary.
  10. The nuances in Derki’s portraits are what deepen the elements that could easily have been a distancing turnoff.
  11. Roll with Me avoids the tropes that narratives about people with disabilities often offer, instead giving a fully developed picture of a man who wants his family to be proud of him and his accomplishments.
  12. Causey deserves real credit for reckoning not only with America’s legacy of slavery and prejudice, but also examining her own ancestors’ specific roles in the racist treatment of African Americans.
  13. This film quickly reveals itself to be a beautifully heartfelt and poetic tribute to the filmmaker’s mother.
  14. Most of all you remember Colman, in a performance that achieves its power, in no small part, by utterly destroying our understanding of what power looks like. She beams and scowls, brays and bleeds, shatters and disintegrates. She rules.
  15. These four, like so many others, opened up to Claude Lanzmann, and the results speak eloquently for themselves.
  16. Russell, he of the shaggy mane and those twinkly, crinkly eyes, digs into the classic role with a sleighful of energy, humor and gusto, deftly making the character his own with guidance from Matt Lieberman’s inventive, myth-bending script. His performance is a gas.
  17. The film’s occasional flatness of tone isn’t always well-used — these may be the raw materials for a classic Hollywood weepie, but sometimes you want to see filmmaking, not a camera pointed in the general direction of who’s talking.
  18. Though it takes the risk of appearing too quiet too long, Roma and its melding of the personal with a glimpse of a society veering toward collapse is incontestably persuasive, a film whose like we are not likely to see again.
  19. Rawal’s well-shot film is engaging — particularly for those with an interest in running and/or meditation — but the lack of balance between each of the four stories ultimately throws the film off.
  20. The jumble occupies an unfortunate space situated somewhere between the ponderously pretentious and the just plain ridiculous.
  21. Underneath the layers of formaldehyde-treated flesh, there’s real heart and deserved wonder at the human body.
  22. They Fight, produced by Common and energized by an inspirational hip-hop soundtrack, serves as a vital reminder that often the battle can be more important than the inevitable outcome.
  23. Say Her Name doesn’t have answers, but it does re-emphasize how unnecessarily tragic Bland’s death was, and why her name should be a boldfaced one in the nationwide call for police reform.
  24. If it lacks its predecessor’s bracing sense of emotional discovery, it nonetheless understands and impressively re-creates the chief source of that movie’s delight: a group of characters who, for all their stresses and struggles, were a warm, easygoing pleasure to spend time with.
  25. It’s entertaining but slight, particularly as it bulks up with the post-credits inclusion of the video.
  26. Trainin tries too hard at times to make a moving scene even more moving, undercutting the narrative, and should put more trust in the strength of the story he is telling.
  27. The movie engagingly outlines blockchain’s role as the underlying technology behind such digital currencies as bitcoin (which gets its own dissection), plus its growing part in accounting practices, music industry payments and renewable energy markets.
  28. If your taste for athletic snapshots has tired of tales of the troubled, Khan’s at least smoothly offers someone as comfortable being a Muslim hero and family man as he is a fast-jabbing contender.
  29. How this all played out in terms of the Austrian election will surprise no one, but seeing how much the situation came to prefigure the contemporary house of mirrors in Europe as well as America still comes as something of a shock.
  30. Neither long nor dumb, Hannah Fidell’s The Long Dumb Road is in reality a terrifically entertaining odd couple road comedy expertly navigated by costars Tony Revolori and Jason Mantzoukas.

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