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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Reviewed by
Noel Murray
It’s the same dreary hooey, made more tedious and witless through repetition.- Los Angeles Times
- Posted Sep 29, 2017
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Reviewed by
Katie Walsh
’Til Death Do Us Part takes on the admirable task of depicting life with an abuser and the very real obstacles to starting over. But its stereotypical writing, which errs on the side of cheesy and hackneyed, rather than deep and psychologically rich, dooms “’Til Death.”- Los Angeles Times
- Posted Sep 29, 2017
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Reviewed by
Katie Walsh
It ends on a rather strange and unsettling note. Framed in a different context, this story could almost be a horror film.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Sheri Linden
Unlike many issue-oriented movies, the artfully crafted film isn’t designed to stir up outrage or sympathy through emotional engagement. At its strongest it’s an unpredictable ride with a winningly sharp absurdist slant; at its weakest, it leans too hard on pointed symbolism.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Gary Goldstein
The romantic adventure Tam Cam: The Untold Story begins like “Cinderella,” finishes à la “Beauty and the Beast” and in between runs the gamut of action-fantasy tropes with entertaining, if at times overly broad and narratively choppy, results.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Noel Murray
Even with a solid cast at his disposal, Bieber can’t make Don’t Sleep anything more than a disconnected compendium of time-tested shock tactics.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kimber Myers
The audience will likely spend most of the film squirming and grimacing in recognition at Aaron’s awfulness — especially when the film rewards him with an ending that is far kinder than the character deserves.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kenneth Turan
Hamilton's story is so filled with dramatic incident and personal and psychological complexity, not to mention spectacular visuals of waves upward of 100 feet tall, that it compels attention whether surfing means anything to you or not.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Justin Chang
The better one knows Stanton’s life and his movies, the more the long silences and gently meandering rhythms of Lucky resonate.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kenneth Turan
American Made is a smart, nervy film, a very modern entertainment made with energy, style and a fine sense of humor that keeps us amused until gradually, almost imperceptibly, the laughter starts to stick in our throats.- Los Angeles Times
- Posted Sep 28, 2017
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Gary Goldstein
Despite its need for serious narrative compression, this remains an emotionally authentic, often poignant look at growing up and growing aware.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Sheri Linden
There's plenty of tawdry glamour, exploitation and grime on offer in this tale of awakening, and through it all, the sisters' bond is its own abracadabra.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Robert Abele
There’s not much in the way of bruising insight into the makeup of a deteriorating personality, but for a compact spin through well-trod fields of lustful, sad-mad blindness, “Thirst Street” has its share of disreputably perverse pleasures.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Michael Rechtshaffen
Refreshingly devoid of talking animals and anthropomorphic vehicles, Ann Marie Fleming’s Window Horses is a lovely surprise of a stirringly original animated feature.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kimber Myers
Unfortunately, the movie’s over-dependence on voice-over and its overwritten script interfere with the audience being able to fully engage.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Noel Murray
McGowan is excellent in what she’s claimed will be her last acting role; and Christopher Lloyd is equally memorable as one of the lost souls the heroine encounters in Toronto’s labyrinthine underground.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kimber Myers
Shree’s film offers insight and intimacy, with survivors being incredibly honest and vulnerable, which will help to drive awareness of the problem and how to fix it.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Gary Goldstein
Director Debra Eisenstadt, who also edited and co-wrote with Zeke Farrow, effectively draws us into Ken’s challenging world and conflicted psyche, aided immeasurably by actor-comic Dawes’ dimensional, empathetic performance.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Justin Chang
Not every historical drama has to be a masterpiece of verisimilitude, but in a movie about intelligence professionals whose very job is to analyze every detail and sniff out damning discrepancies, instances of visual and narrative sloppiness stand out all the more glaringly.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Gary Goldstein
First-time feature writer-director Morgan Dameron attempts to craft a love letter to her native heartland and to sisterhood, but falls short on both fronts, rarely digging beneath the surface of small-town bonhomie and what makes Millie and Emma tick.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Noel Murray
Welcome to Willits has a loopy energy that in short spurts can be pretty amusing. More often than not though, the film is clever to a fault, packing in too many characters and gimmicks.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Kenneth Turan
Made with care and conviction as it explores this unexpected relationship, "Our Souls at Night" understands both what changes in people as they age and what remains the same. It covers quite a bit of emotional territory, and it covers it well.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Katie Walsh
Music and sports are a fascinating blend, as both baseball and rock offer collective community celebration and catharsis, with Wrigley as the host. Mostly though, it’s fun to see rock god Eddie Vedder reveling in his own fandom, the joy he shares with all of Chicago and Cubs fans everywhere.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Noel Murray
What makes Super Dark Times one of the most exciting American filmmaking debuts in recent years is how well Phillips and company grasp both the intensity and ephemerality of adolescence.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Sheri Linden
Beyond explanation is the art itself. Animating Van Gogh’s bold impasto, already kinetic on the canvas, could have been merely superfluous. As moving pictures, though, the brushstrokes have an unexpected pull in this uneven but deeply felt homage.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Robert Abele
That so packed (and pictorially arresting) a scenario is not only well-acted — from the kids to the elders — but handled with emotional intelligence and even eye-rolling humor, speaks to Rauniyar’s narrative gifts regarding matters of his homeland.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Katie Walsh
Unrest is a sensitive and arresting rally cry for increased awareness about this disease, and an existential exploration of the meaning of life while battling a crippling chronic illness.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Gary Goldstein
Theater lovers and Italophiles alike should savor the documentary Spettacolo.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Robert Abele
As we watch these once-marginalized artists thrillingly bring their past to bear on tense times, so does this look-and-listen complement the urgency of our newly charged civil rights moment.- Los Angeles Times
- Posted Sep 28, 2017
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Reviewed by
Michael Rechtshaffen
Although Chris Perkel’s two-hour documentary can feel like an extended episode of “Behind the Music”...it’s admittedly tough to condense half a century of such remarkable musical diversity.- Los Angeles Times
- Posted Sep 26, 2017
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