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. This movie is more like a gallery exhibition of moving portraits — each more astonishing than the last.
  2. Seeing Sonia confidently gripping the leopard print-covered steering wheel of her late model Oldsmobile and getting on with her day serves as a potent and especially timely lesson about living a compassionate, vibrant life that doesn’t have any room for hatred and bitterness.
  3. Harding’s story, in this overly broad retelling, is not especially strong on narrative density — or, for that matter, ambiguity.
  4. The Shape of Water is a wonder to behold. Magical, thrilling and romantic to the core, a sensual and fantastical fairy tale with moral overtones, it’s a film that plays by all the rules and none of them, going its own way with fierce abandon.
  5. What makes "Bombshell" intriguing is not just Lamarr's gift for invention, it's also what a fiery individualist she was, someone who had no regrets about her eventful life ("You learn from everything"), not even its racy, tabloid elements.
  6. More than the story of an individual, the film is a stirring tribute to endangered folk traditions.
  7. Truths this scalding and plain-spoken need no such embellishment to be heard.
  8. There are limits to how much of an edge a movie gets from incompetence — as writer/director/producer Susannah O’Brien’s The Doll proves definitively.
  9. The Dancer is such a bold and assured film, wildly creative and sensual, that it feels far more sophisticated than a debut, and signals Di Giusto as one to watch.
  10. As a perilous dog-and-mouse game ensues, Solet packs his script with tension, dimension and several vivid flashbacks recalling the characters’ seminal encounters with dogs. Cool camerawork too.
  11. Shadowman is at its unsettling, want-to-look-away best when tiptoeing around the question of what makes for success regarding artists like Hambleton: the hoopla that keeps the work in circulation, or the mysterious inner pilot light that keeps a self-destructive talent going?
  12. Kaleidoscope is brilliantly crafted and performed, but it’s a bit too taken with its own muddling of facts and form to truly hook into.
  13. The directors get some melancholic atmosphere out of their visuals but don’t have the scene sense to build their actors’ committed performances into compelling through-lines of seaside personality disintegration.
  14. Like “Winter’s Bone,” the film is at its best when it follows its heroine closely, letting the audience understand more about her life with each step closer to danger.
  15. At most, Naples ’44 makes a solid case for turning to Lewis’ prose and getting the full effect of his year there that way.
  16. Although the movie...could use some second-half tightening and a bit more objectivity (Georgia-Pacific and Koch Industries did not comment in the film), it remains a vital, eye-opening portrait.
  17. An intricate, dazzling cinematic dance, Foxtrot goes both deeper in and further out than standard-issue cinema. It's profound and moving and wild and crazy at the same time, simultaneously telling a specific story and offering an emotional snapshot of a country whose very soul seems to be at risk.
  18. Forget the cheapo title, Badsville is a powerful, deeply felt crime drama about letting go of the past and getting out of Dodge — before it’s too late.
  19. Looking for bathroom humor, beer jokes, heavy metal, unapologetic smut and a dude in a furry monster suit? These movies are a one-stop shop for just that kind of good-natured vulgarity.
  20. This debut effort from Hickman lacks the dramatic tension and connective tissue to truly compel, but his gritty, high-energy aesthetic can no doubt be applied to better results with a stronger script.
  21. The blades of the brotherhood may be sharp, but the execution is exceedingly dull.
  22. The stirring, masterfully constructed documentary “Apache Warrior” makes intriguing use of three recovered flight tapes from a squadron of U.S. Apache fighter helicopters that launched a deep attack in Iraq at the start of the war in March 2003.
  23. Despite Denison’s intentions, a very fine, uncomfortable line exists between being up-to-the-minute and opportunistic.
  24. The clunky organization and very basic production values give way to something inspiring.
  25. Ultimately, it feels irresponsible to remain unwilling to take a stand on this extreme abstract rhetoric in support of an all too real and immediate threat.
  26. [A] fascinating and frustrating documentary.
  27. With its uninspired ending, Alien Invasion: S.U.M.1 squanders its cool concept and a compelling, nearly solo performance by Iwan Rheon.
  28. While the conclusion to The Other Side of Hope is open-ended, Kaurismaki unashamedly believes in brotherhood, and among other things his film celebrates people who do the right thing without making a big deal about it.
  29. Love Beats Rhymes lacks its own ambition to be something different.
  30. The story of how Wiseau turned his great cinematic lemon into zeitgeist lemonade is both heartening and instructive, but it also hints at darker secrets and unknowns that this movie’s upbeat dimensions can’t entirely capture.

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