Los Angeles Times' Scores

For 16,524 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 2.3 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:
16524 movie reviews
  1. "Him" and "Her" are hardly groundbreaking cinema, but they are more rewarding than "Them."
  2. The stars' banter is insipid and unfunny, the wacky shocks short out and, most unforgivably, the car chases are a snooze, filmed as a series of stationary close-ups and diced in the editing room until they suggest anything but movement.
  3. The story and characterizations never get much deeper than "We're all special in our own way."
  4. This pulpy, energetic film is a fast-moving and entertaining tale.
  5. At the moment, modestly amusing does not stave off that desire for a really great live-action family film after years of watching the terrain land-grabbed by animation.
  6. What tantalizes is the way the story moves between their private passion and their public shame, the way then and now become synchronous. Amalric navigates the shifts with a lapidary precision.
  7. Seasoned pros Allen and LaPaglia are terrific as longtime mates forged together in an unexpected game of cat and mouse.
  8. The will-he-or-won't-he question becomes the focus of director Mark Raso's film, and how William responds under the mercy of Effy's whims ultimately determines whether he can emerge from his self-absorption at long last.
  9. For Westerners, Lemelson offers an eye-opening look behind Bali's profile as a tourist Shangri-la. The documentary's ultimate value, though, may be in local education.
  10. A small-scale gem of a movie, both dramatically aware and psychologically astute.
  11. There's the unfettered access to Harmon's brilliant comic mind, of course, yet also a warts-and-all portraiture of a difficult personality, by turns boyish, self-involved, abusive and exhilaratingly self-analytical.
  12. Teasing out the vagaries of language, how confusing communication can be, is such a good idea. Despite a strong start, the filmmaker doesn't exactly know where to go with it. Still, there are moments before things get away from him that are captivating to watch and lovely to listen to.
  13. Disjointed and unfocused.
  14. The admittedly simple premise — that El Libertador fought the good fight, for a worthy cause — is refreshingly escapist. By only briefly addressing the complications of Bolívar's later life as a ruler, it lets us revel in the antiquated notion, if only for a couple of hours, that there are some battles worth fighting.
  15. Unlike documentaries that tie things up in a tidy bow, Supreme Price wants viewers to understand that the status of democracy in Nigeria remains very much in flux.
  16. The pieces don't always fit together as neatly as you might wish, but if you let it, The Good Lie's heartwarming soul will win you over.
  17. Annabelle works enough devil figurine juju to make for a modestly hair-raising prequel to the more satisfying scares of its predecessor, "The Conjuring."
  18. Cheesy visual effects, flat shooting, slack directing and pacing, risible dialogue and characterization, lots of crummy acting, plus a painfully dull first act make this anything but a rapturous experience.
  19. Waiting for August" is an impressive, if muted, debut documentary.
  20. Fine performances (MacKay is a revelation), bristling tension, strong atmospherics and a wealth of superbly wrought, often heartbreaking scenes add up to make "Peril" a must-see for serious filmgoers.
  21. The war scenes and their aftermath are involving and emotionally sound as well as skillfully shot and edited. And if several moments smack of revisionist history, perhaps best to ascribe them to dramatic license.
  22. Although director and co-writer Cutter Hodierne tells the story from the pirates' viewpoint, he adds no more dimension to them than the one we saw in "Phillips."
  23. Filmmaker Nicholas Mross takes a straight-ahead, even-handed approach to the controversial payment system.
  24. Good People goes from being simply pedestrian to outright preposterous without batting an eye.
  25. The narrative of Strachwitz as preserver of obscure music just repeats like a broken record with the introduction of each region, genre and musician.
  26. Since many of the themes from Illmatic have become mere clichés in contemporary rap, this film serves as a reminder of the potential and the promise that hip-hop truly holds.
  27. A few steps further and Reitman might have turned Men, Women & Children into parody — at least that might have made for some laughs.
  28. Though the breathless tale and full-throttle tunes give "Filmage" plenty of rollicking energy, it's the through-line of genuine soulfulness and tireless artistic commitment that sets it apart.
  29. The film seems to have an entire deck of cards up its sleeve, and they're dealt out with more tedium than fun.
  30. In addition to flat visuals, logy pacing and lots of first-draft dialogue, "Bridge" plays host to such an uninspired — and uninspiring — circle of friends and lovers it's hard to invest in their mundane journeys.

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