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. Includes a few scenes of impressively choreographed mayhem, but they're all but buried in Freeman and Condon's mystical grandpa and weirdo teeny bopper routines.
  2. A documentary experience to savor. Warm, funny and very difficult to resist, this engaging film combines the charm of "Spellbound" with the kinetic energy of "Strictly Ballroom" in a way that will make you want to laugh, cry and do a little dancing yourself, maybe all at the same time.
  3. Degrading, disgusting and depressing.
  4. A sleek, effective entertainment that is a refreshing respite from the slick emptiness of recent American crime dramas.
  5. A complex, boldly experimental movie plotted like a thriller and paced like a farce, Kings and Queen is category-defying film that's as smart and emotionally resonant as it is entertaining.
  6. Lost is consistently clever, amusing -- and scary.
  7. Deeply silly and tendentious.
  8. A remarkable work -- lively, painful, humorous, deeply revealing of both father and son -- that is worthy of one of Hollywood's finest directors of photography.
  9. Any glimpse of emotional honesty comes courtesy of the actors, who manage to do a credible job despite the material.
  10. Related to the 1953 Vincent Price film in name, embalming technique and Warner Bros. pedigree only, the new House of Wax is a dreary, predictable tale.
  11. Scott and company have gotten so accomplished at re-creating history that the results have a welcome offhanded quality, making them spectacular without seeming to be showing off.
  12. This small, lovingly crafted film continually surprises with its depth and resonance.
  13. A giddy, gassy piece of lunatic fluff that recounts Jiminy's rise to fame. In interviews, Short has described Glick as a moron with power, and in Jiminy Glick in Lalawood, he takes us back to the early days, when he was merely a moron.
  14. It's hard to imagine a more serious or persuasive indictment of the horrors inflicted on children by sexual abuse than Mysterious Skin.
  15. It is a most tender love story, first and foremost, and a warm, affectionately humorous depiction of Kurz's close-knit Jewish friends and colleagues.
  16. The end result was that the performances reached a remarkable level of intimacy and intensity.
  17. The anesthetized, deadpan performances -- except for Meat Loaf as Anna's gangster boyfriend, who's so over-the-top it appears he stumbled in from another movie -- and dull storytelling result in an unsuccessful mix of screwball comedy, melodrama and noir.
  18. A winning combination of humor and crafty filmmaking.
  19. There are some inspired off-the-wall moments, but they are more than offset by a pervasive aura of tedium and the lack of any sense of the forward momentum necessary to sustain an adventure of this kind.
  20. Opens explosively and never lets up.
  21. Alternately witty, caustic, tender and endlessly imaginative and unpredictable.
  22. It's hard to imagine many films surpassing or even equaling the effect of this supple, breathtakingly direct, small French film.
  23. As David Rakoff once wrote, "Youth isn't wasted on the young. It is perpetrated on the young." Exactly how is brilliantly captured by Andrew Bujalski in his debut feature, Funny Ha Ha.
  24. A subtle artist and a sharp observer, Martel manages a large cast with an ease that matches her skill at storytelling, within which psychological insight and social comment flow easily and implicitly.
  25. It is a pleasure from start to finish.
  26. It is the kind of superbly crafted, intelligent entertainment — a classic suspense thriller — that nowadays is as welcome as it is rare.
  27. Moving from tragedy to tragedy, the film teeters along unsteadily, showing events we've seen countless times before and then imploding under the weight of its ridiculous ending.
  28. What results is an intimate, chatty film, both cheeky and thorough, the kind of high-class historical gossip you might get if an eminent Soviet historian like Robert Conquest or Richard Pipes went to work for the National Enquirer.
  29. An amazing achievement of personal filmmaking.
  30. Yes, this could be a better film, but the good qualities it does have are rare enough to hold our interest on screen and off.

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