For 16,520 reviews, this publication has graded:
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56% higher than the average critic
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6% same as the average critic
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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: | Sand Storm | |
|---|---|---|
| Lowest review score: | Saw VI |
Score distribution:
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Positive: 8,697 out of 16520
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Mixed: 5,806 out of 16520
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Negative: 2,017 out of 16520
16520
movie
reviews
- By Date
- By Critic Score
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- Critic Score
The film is surprisingly upbeat given the double heartbreak of the two through lines. Much of that can be attributed to Gaborno’s infectious stage presence and his storied sense of humor.- Los Angeles Times
- Posted Oct 11, 2017
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Reviewed by
Noel Murray
Doleac’s forging a niche. His name on a picture is now an indication that genre fans will see something different … though it’s not yet a mark of quality.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
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- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Katie Walsh
Shanahan shows potential as the hunky but clueless leading man, and Dixon displays a solid point of view with a refreshing perspective centered around women’s success and choices.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Kimber Myers
There’s little fun to be had for the audience other than in some nicely executed special effects.- Los Angeles Times
- Posted Oct 5, 2017
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Robert Abele
For a movie about so rabble-rousing a figure, it’s an unusually quiet portrait.- Los Angeles Times
- Posted Oct 5, 2017
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Katie Walsh
The Legend of 420 captures a zeitgeist, but with so many facets to explore in this survey of contemporary American marijuana culture, it only scratches the surface.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Michael Rechtshaffen
One doesn’t need to be into pugilism or well-versed in Gaelic to appreciate Rocky Ros Muc, a documentary that is as much about roots and identity as it is a portrait of Irish American boxer Sean Mannion.- Los Angeles Times
- Posted Oct 5, 2017
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Gary Goldstein
This gripping exposé of the dark side of the commercial dog sledding industry, particularly as it pertains to Alaska’s annual Iditarod Trail Sled Dog Race, is a horrifying heartbreaker.- Los Angeles Times
- Posted Oct 5, 2017
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Justin Chang
Vaughn’s performance is riveting in its containment, and he honors his character’s ethos by making sure that every word, glance, gesture and silence counts.- Los Angeles Times
- Posted Oct 5, 2017
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Kenneth Turan
Its intent is to show us how difficult it is to see clearly during times of crisis, how what seems as simple as black and white today was the source of uncertainty and soul-searching when it happened.- Los Angeles Times
- Posted Oct 5, 2017
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Sheri Linden
Love of God and dog can be powerful things, but in this uncinematic telling, they fail to inspire.- Los Angeles Times
- Posted Oct 5, 2017
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Kimber Myers
Beyond its style, Dementia 13 doesn’t innovate, but it’s a capably made indie that should please genre fans searching for a haunted diversion.- Los Angeles Times
- Posted Oct 5, 2017
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Michael Rechtshaffen
The overstuffed production feels as tediously incessant as its endless winter.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
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- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Robert Abele
While Cruz wins us over with her emotionally charged amateur sleuthing, the weight of a constant struggle to not just gain acceptance, but survive fighting for it, gives France’s documentary a stirring poignancy.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Sheri Linden
Celebrating a great ranchera interpreter without sugarcoating her, this straightforward film honors her approach.- Los Angeles Times
- Posted Oct 5, 2017
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Katie Walsh
I Am Another You is a remarkably sensitive and lovely portrait of an individual, a family, and a life that shines an uncommonly humane light on the issues of mental illness and homelessness.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Sheri Linden
Beneath its quiet surface, the Austin, Texas-set drama Barracuda thrums with menace and mystery from first moment to last.- Los Angeles Times
- Posted Oct 5, 2017
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Gary Goldstein
There may be an intriguing, perhaps even profound story behind Smith’s growth as a singular artist and woman, but director Elvira Lind keeps too much on the surface, making it hard to invest in Smith’s often esoteric, self-centered journey- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Gary Goldstein
George combines a wide array of strong, if at times grisly, archival footage and photos with remarkable interviews with two centenarian survivors of the killings, plus moving commentary from many Armenians whose relatives perished in that first massacre and/or more recent conflicts across Azerbaijan.- Los Angeles Times
- Posted Oct 5, 2017
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Justin Chang
It’s the tension between hardscrabble realism and buoyant fantasy — and the understanding that they are both, in fact, vital aspects of the same experience — that makes The Florida Project so powerfully unresolved.- Los Angeles Times
- Posted Oct 5, 2017
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Kenneth Turan
The Mountain Between Us is an uneasy hybrid of a film, and its successes and disappointments show the benefits and drawbacks of hitching your film to a pair of stars.- Los Angeles Times
- Posted Oct 5, 2017
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Kimber Myers
Generational Sins does deserve praise for avoiding the saccharine tone that plagues so many other films about faith, though its script may fail to convert nonbelievers.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Gary Goldstein
The strong cast, including John Heard, Dash Mihok, Jacinda Barrett and Cloris Leachman, sells the warm, at times cloying material with earnest conviction.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Kenneth Turan
As shaped by Villeneuve and his masterful creative team, especially production designer Dennis Gassner and cinematographer Roger Deakins, this film puts you firmly, brilliantly, unassailably in another world of its own devising, and that is no small thing.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Robert Abele
Choked with clichés, joyless, and with a suspense meter on empty, this France-set caper about classic-car-thieving half brothers (Scott Eastwood and Freddie Thorp) mixed up with a pair of violent, automobile-collecting crime lords (Simon Abkarian and Clemens Schick) is only for those who think the “Fast and the Furious” movies aren’t white and charmless enough.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Michael Rechtshaffen
While the storytelling, by Abbess and co-writer Brian Cachia, might lack novelty and, occasionally, coherence, visually the film consistently impresses with creative art direction and costume choices.- Los Angeles Times
- Posted Oct 5, 2017
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Reviewed by
Noel Murray
From the shockingly raunchy dialogue to the ironic yuletide pop songs, this movie is a fun kind of nasty.- Los Angeles Times
- Posted Oct 5, 2017
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Kevin Crust
Faith comes naturally, but complexity does not for Ty Manns’ script, which plays like a first draft, one written from a manual and riddled with two-dimensional characters and on-the-nose dialogue.- Los Angeles Times
- Posted Sep 29, 2017
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