Los Angeles Times' Scores

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For 16,520 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 2.4 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:
  1. Positive: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Scarface
    Scarface is one of best of the early gangster movies; its wit and building velocity speeds it past Little Caesar and keeps pace with Public Enemy.
  2. Freaks
    Freaks is a wild ride, but it's not the monster-trip some say it is. It is macabre and disturbing, but Browning chose to humanize the deformed characters at the movie's shadowy center, not to demonize them.
  3. Shanghai Express
    Of all the Josef von Sternberg-Marlene Dietrich films, this Oriental thriller may be the most sinfully pleasurable and amusing. [15 Sep 1991, p.6]
    • Los Angeles Times
    • 69 Metascore
    • 80 Critic Score
    East of Shanghai
    Hitchcock deftly maneuvers the film from comedy to romance to melodrama to near tragedy. [02 Feb 2007, p.E12]
    • Los Angeles Times
  5. Monkey Business
    McLeod was in charge of the mayhem, S. J. Perelman had a hand in the script and Monkey Business is just as funny as it was in 1931. [25 Mar 1986, p.7]
    • Los Angeles Times
    • 48 Metascore
    • 50 Critic Score
    The Skin Game
    Based on the 1920 hit play by John Galsworthy, the creaky drama revolves around two neighboring families living in the picturesque British countryside. [02 Feb 2007, p.E12]
    • Los Angeles Times
    • 80 Metascore
    • 80 Critic Score
    The Public Enemy
    If there are to be gangster pictures, let them be like The Public Enemy, hard-boiled and vindictive almost to the point of burlesque.
    • 99 Metascore
    • 100 Critic Score
    City Lights
    Its last few moments are among the most brilliant (and risky) endings in film history.
    • 71 Metascore
    • 70 Critic Score
    Dracula
    Despite having been directed by Tod Browning, the classic 1931 version of the oft-told horror tale suffers from a poor script, a deservedly forgotten supporting cast and a stately pace better suited to silent films. But it does have the suavely sinister Bela Lugosi and superb cinematography by Karl Freund. [09 Sep 1990, p.22]
    • Los Angeles Times
  10. The Manxman
    The point of the film is to strike a blow for truth regardless of consequences, but it's hard to believe in this seduction. [11 May 2000, p.F36]
    • Los Angeles Times
    • 78 Metascore
    • 80 Critic Score
    Wings
    Certainly, Wings soars beyond human experience. [17 Jan 1928, p.11]
    • Los Angeles Times
    • 82 Metascore
    • 70 Critic Score
    The Lodger: A Story of the London Fog
    If Alfred Hitchcock's 1926 "The Lodger" lacks the intense suspense and dynamic fluidity of the Hitchcock classics, it is nonetheless a remarkably assured third film and the first he considered truly his own. [13 Aug 1996, p.F10]
    • Los Angeles Times
  13. Easy Virtue
    Although there's no suspense, it is in fact a real Hitchcock movie in that in it, his fifth picture, he already displays his unique grasp of the camera's storytelling possibilities. [13 May 1996, p.F6]
    • Los Angeles Times
  14. Sunrise
    Sunrise reminds us that the silent film was reaching its artistic heights just as sound was arriving. [29 Apr 1985, p.2]
    • Los Angeles Times
    • 71 Metascore
    • 80 Critic Score
    The Ring
    Alfred Hitchcock's 1927 "The Ring" reveals that Hitchcock began to be a master of his craft early on, already adept at manipulating his audience's emotions and in creating suspense. [25 Nov 1996, p.F8]
    • Los Angeles Times
  16. Battleship Potemkin
    The most bravura 69 minutes in film history. [18 Mar 2011, p.D9]
    • Los Angeles Times
    • 99 Metascore
    • 100 Critic Score
    Intolerance
    As a medium for expressing art, moving pictures may not stand the test of time, but Intolerance is greater than any medium. It is one of the mileposts on the long road of art, where painting and sculpture and literature and music go jostling eagerly along together.
  18. The Accused
    Although the role requires Espósito to be a necessary enigma in order for the “did she or didn’t she?” conceit to work, the actress-singer gives a compellingly spare, tight-lipped performance that handily carries this incisively observed character study — one in which the notion of guilt is collectively split among many a bloodstained hand.
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