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. "The Next Cut" manages to be entertaining and thoughtful, harmless fun but just serious enough not to seem frivolous.
  2. De la Iglesia, a filmmaker known for his dark comedies, ultimately has nowhere to take this breathless ode to Fellini and his own mentor, Pedro Almodóvar, as well as backstage showbiz satires like Robert Altman's "The Player" and Michael Hoffman's "Soapdish."
  3. A strong visual sense, intriguing tempo and effective economy of words combine to make Hostile Border an above-average crime thriller.
  4. An extraordinarily moving, deeply personal, filmed diary
  5. Minimalist to a fault, this psychological horror exercise is fairly tedious, distinguished only by the moody lighting and the slow, fluid pans and dollies.
  6. Sokurov's open-ended Eurocentric meditation is, above all, a stunning visual achievement. The fluency with which he combines the pixels, ghosts and artifacts is extraordinary, and his deft use of drone footage is a lesson to many gadget-happy filmmakers.
  7. It's a sweetly funny, charming and poignant depiction of this very specific time in life — at once universal and specific — when anything seems possible. And with killer pop tunes to boot.
  8. The languid pace and barnyard earthiness won't be to everybody's taste, but it's hard to deny Mascaro's vision. Where some look at a rodeo and see sweat and dirt, he sees a poignant struggle, which he illustrates meticulously.
  9. Wedding Doll is a small film with a unique take on coming of age and finding one's own place in a world that's often unwelcoming to people who are different.
  10. As with Rossi's acclaimed documentary "Page One: Inside the New York Times," "First Monday" covers too much ground.
  11. Unfortunately, The Syndrome fails to adequately elucidate the many nuances of this complicated subject.
  12. A slapdash tribute too humdrum to ever whip up a truly inspirational froth.
  13. Although the film seems to play a bit fast and loose with that specific time frame, the assortment of provocative characters...intriguingly go about their business.
  14. Though the movie's consistently watchable, it's rarely grabby, aside from a few strong jump-scares.
  15. Mastretta does beautifully realize the fluidity and messiness of coupling.
  16. The Adderall Diaries is a complex, absorbing, at times profound look at how we choose to remember our past. Wh
  17. While thrashing chords score this gutbucket nightmare, Saulnier's way with overwhelmed characters, pressing evil and dangerous escape mechanics is practically symphonic.
  18. Half science-fiction tale, half espionage thriller, it's a pleasantly far-fetched endeavor that moves along so briskly that it leaves no time to consider its implausibilities, which are many.
  19. By turns sweetly amusing and surprisingly unnerving, crammed with story, song and computer-generated visual splendors, it's such a model of modern crowd-pleasing entertainment that it brings to mind a celebrated quote by F. Scott Fitzgerald about filmmakers who were "able to keep the whole equation of pictures in their heads."
  20. Its sentimentality is tempered by the elegant restraint of the fine lead performances.
  21. What pulls us into Fireworks Wednesday is the universality of the emotions its characters display and the familiarity of the situations they find themselves in. Farhadi is a master navigator of these waters, and even his earlier films reward our close attention.
  22. Barbosa skillfully skewers the presumptions of rich folks who presume they deserve all that they've gotten, even as they're squandering it.
  23. Even viewers who know nothing about soccer can enjoy how Rocha captures the beauty of a communal event through editing and shot selection alone.
  24. "Mother" is definitely worth a look as an involving exercise in parental indiscretion, unexamined and over-examined lives, and a nostalgic look at East Coast Jewish culture.
  25. Daddy is the strained, at times cringe-worthy film adaptation of Dan Via's stage play, which ran off-Broadway in 2010 and the next year in Los Angeles. Based on the show's largely good reviews, something was clearly lost in translation.
  26. It's unfortunate that Brown and company were unable to bring stronger narrative and filmmaking skills to this vital subject.
  27. A Space Program may find cheeky humor in our quest for meaningful science. But it certainly hints that there's something worshipful in the details.
  28. Kusama reveals and conceals the geography of the house, parceling out just enough information to understand its logic, while leaving certain dim recesses mysterious.
  29. Directors Jonathan Yi and Michael Haertlein put the focus on the standard reality-TV repertoire like "Making the Band." Their repeated disregard for Hioki's pleas to go off the record smacks of opportunism and exploitation rather than revelation.
  30. By the umpteenth disruptive shock-cut and patiently framed shot of Carter staring us down, Darling has worn out its welcome even as a mood piece.

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