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
    • 70 Metascore
    • 70 Critic Score
    It's a demanding film but one filled with important truths about humanity in all its denominations.
  1. Working in the spirit of his predecessors but with the kind of uncanny special effects they could barely dream of, Spielberg has come up with an impressive production that is disturbing in the way only provocative science fiction can be.
  2. Mysterious and original.
  3. Isn't a remake, really. It's a "reimagining," which is a sparkly word for what happens to a beloved TV hit of yesteryear when it's cannibalized by committee.
  4. Romero easily commands an enormous cast, a plethora of action sequences and a cornucopia of special effects -- some of them very gory -- and creates one darkly dazzling image after another that allows Land of the Dead to emerge without any nudging whatsoever as a bleakly humorous, hard-charging allegory.
  5. José Cancella's original score complement the tremendous wit, vitality and sensuality of the dancers.
  6. Yes
    Bold, vibrant and impassioned, Yes is the work of a high-risk film artist in command of her medium and gifted in propelling her actors to soaring performances.
  7. Raw, earthy yet tender and perceptive, Lila Says marks a strong directorial debut for Doueiri, who was Quentin Tarantino's camera operator on "Reservoir Dogs," "Pulp Fiction" and "Jackie Brown."
  8. A smart, well-paced documentary that balances the man's triumphs with his rare failures and discerningly explores the darker side of his power.
  9. As uplifting as anything you will find in theaters.
  10. It may be by-the-numbers, but it knows that under the right circumstances those numbers can lead to a fair amount of fun.
  11. Through sensitive, in-depth profiles of four workers, Weisberg drives home the point that hard-working men and women with full-time jobs find themselves and their families trapped in a seemingly endless cycle of poverty.
  12. The film might have worked as a taut, topical corporate intrigue thriller; instead, for all its ambition, it's just a routine mystery, despite a solid performance by Christian Slater.
  13. This is a conventional, well-acted, English working-class drama in the familiar realist style, but it does not attain anywhere near the level of artistry and imagination of a Ken Loach film.
  14. The movie is a tortured marshmallow.
  15. Intent as it is on being both artistically and politically involving, The Great Water periodically miscalculates its effects, coming on stronger than it intends.
  16. Beautifully shot on location in New York and consistently well-acted, but it sticks a little too closely to the surface to be very compelling.
  17. Optimistic and humanistic to the core, Me and You and Everyone We Know is a paean to perseverance and finding ways to cope.
  18. Two teen girls forge an explosive connection in a compelling Pawel Pawlikowski film.
  19. It's difficult, though, to see how this picture -- essentially chronicling a long car trip -- could mean much to anyone but the Wagners and their friends and relatives.
  20. At once a tender love story and a psychological suspense drama that lays bare the acute tensions that threaten to tear apart an upwardly mobile suburban L.A. Chinese American family.
  21. Warm and wise comedy of middle-age malaise.
  22. A carefully thought out and consummately well-made piece of work, a serious comic-book adaptation that is driven by story, psychology and reality, not special effects.
  23. In the end, star charisma and Liman's style win us over and we relax into a sophisticated summertime diversion that is noticeably intended for adults.
  24. John Leguizamo steals the show as its sleazy trainer -- not that there's much to steal from John Schultz's joylessly schematic paycheck.
  25. For much of its duration the film is a case of intense fare done with an undeniable effectiveness and ingenuity -- until it lurches into a deplorable surprise twist.
  26. On the whole it feels genuine. Lautner and Dooley are compelling as the sullen, instinctual Sharkboy and the radiant, hot-headed Lavagirl, and it's easy to see why they dominate shy, hesitant Max's dreams.
  27. Parse it any way you like, Miyazaki's gifts as an animator place him in a category of his own. To see his latest film is to be somehow reminded of Italians who could hear Verdi's operas as soon as they were sung or English readers who could experience the novels of Dickens episode by episode.
  28. Andreas is way too low-energy to hold the screen as the film's lead, but he was wise to surround himself with a talented cast. Unfortunately, the wooden dialogue and overall shallowness of the writing keep the film from being even an amiable diversion.
  29. This process unfolds in terse, compelling fashion with ravishing camerawork by Agnès Godard.

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