Los Angeles Times' Scores

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 2.3 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:
16520 movie reviews
  1. A few strong moments from its stars brighten the film, but it’s never more than a mildly enjoyable diversion.
  2. While the Nick Peet-directed film has its cheerfully outrageous moments . . . even mild shock value in the time of an epidemic might not be just what the doctor ordered.
  3. Heavy-handed messaging that mimics a morally didactic PSA drowns the proficiently shot movie in long tirades more noticeable for their vociferousness than for actually delving into any revealing specifics.
  4. The movie is disturbingly reckless, needlessly brutal and deeply homophobic. Later attempts to wedge in a few nice moments between James and Kareem fall flat.
  5. A compelling and instructive look at the political practice of gerrymandering. It’s also an infuriating watch on several levels, which is entirely the point of this call-to-action portrait.
  6. From the occasional flashy camera angles to a soundtrack peppered with deep-cut R&B songs, this movie slots right into some well-worn grooves. And yet it mostly works, thanks to an ace cast and a story that springs a few surprises.
  7. Justine recalls the golden era of the conscientious, well-acted movie of the week: a slice of life built around hardships, but without exploiting them.
  8. As a study in atmospheric seclusion, The Other Lamb is beautifully crafted enough to hold your attention, but you can’t shake the feeling that Selah’s next chapter — and Cassidy’s — might well be the more interesting movie.
  9. Like a fan excitedly showing off their record collection, the documentary Streetlight Harmonies flips through its history of doo-wop telling a tale both tuneful and essential in the development of rhythm & blues, rock and roll and civil rights.
  10. The movie, which begins streaming Friday on Disney+, emerges a generally charming, sometimes cloying exercise in wildlife anthropomorphism.
  11. What results is an emotional appeal that highlights a grave problem but doesn’t give the viewer the scientific, factual foundation to be completely convinced. The film also doesn’t offer solutions.
  12. This is cinema that pushes beyond the medium’s usual representational modes, beyond the observational qualities of neorealism or the interior states of psychological drama. Complex histories and unspoken emotions are distilled into a series of carefully composed tableaus, each one proceeding with slow, ceremonial deliberation.
  13. Writer-director Penny . . . has crafted a thoroughly workable and well-informed vehicle, providing a nurturing atmosphere for the unhurried dramatic developments and uniformly gracious performances.
  14. Tape might be based on a true story but it still feels disingenuous, both in its bleakest moments and in those meant to inspire solidarity. There’s clumsiness present in the filmmaking, with issues that deserve so much better.
  15. Regardless of how far audience members are from their own post-high school, pre-college summer like these teens, there’s still truth and plenty of laughter here that feels specific to their experience yet universal to anyone who’s had a BFF.
  16. One suspects Inside the Rain is a labor of love. One wishes its makers would have let us in enough to love it as well.
  17. Finnegan offers a vision of domesticity as a soul-sucking grind, done for the benefit of malevolent overlords. His film chills the mind more than the spine.
  18. A tense and gripping thriller inspired by yet another true-life, World War II-era tale of courage and resolve against one of history’s most unthinkable evils.
  19. More than most real-life stories about marginalized individuals overcoming daunting odds and deep-seated prejudices, “Crip Camp” manages to be at once sweetly affirming and breezily irreverent.
  20. Formidable from a technical standpoint, The Platform thrives on effectively grotesque production design and ghastly special effects that shock and disgust with purpose.
  21. Its chill, holistic view of the clinic and its canine patients will likely appeal to pet lovers and wellness devotees alike, although the allergic and the skeptics might find their minds wandering toward its end.
  22. Although the production establishes the requisite lived-in, small town feel, it has also chosen to take its dramatic cue from the seemingly sedated gaze of its lugubrious, aliens-obsessed protagonist, whom Le Gros portrays with a remarkable economy of expended energy.
  23. Dosed works best as a purely anecdotal, personal chronicle of a friend’s struggle with addiction therapies. It is not recommended as a substitute for scientific conclusions.
  24. While not everything connects in the movie, Hooking Up is saved by the efforts of Snow and Richardson. They make a charming couple, even if the film itself has less allure.
  25. Bolt’s ethically engaging, easy-to-grasp and artfully conceived film covers a wide range of areas that stir us to think about benefits and costs.
  26. A magnificent cast only partially compensates for the fizzling narrative.
  27. A briny Northeastern noir powered by women with secrets, Blow the Man Down is a pleasantly spiky slinging of small-town sin that should prove to be eminently companionable viewing for these sequestered, streamable times.
  28. Despite the noble ambitions of writer-director Sally Potter (“Orlando, “The Party”), The Roads Not Taken proves a morose and baffling drama; a painful, snail’s-paced 85 minutes with little payoff.
  29. Though “Virus” could have lived without the presence of director Goldberg as an on-camera through-line, it is at its best in presenting strong and vivid examples of anti-Semitic rhetoric and actions.
  30. Filmmaker Herbig and his team prove to be especially adept at contriving situations where anything anyone does causes fear, anxiety, stress and worry, leaving everyone, very much including the audience, existing on the knife’s edge of unremitting tension.

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