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. Astonishingly, instead of business as usual, The Irishman is a revelation, as intoxicating a film as the year has seen, allowing Scorsese to use his expected mastery of all elements of filmmaking to ends we did not see coming.
  2. This isn’t simply a damning indictment of the nation; it is a hopeful celebration of one woman’s activism and kindness in the face of her own struggle with AIDS.
  3. Awfully bewildering till the end, a final bombshell catapults the persistently nonsensical plot onto a level of implausibility that defies basic logic and ethics.
  4. Melodrama and an overstuffed plot often overshadow the genuine feeling here.
    • 29 Metascore
    • 20 Critic Score
    It’s the banal dialogue, lack of tension, one-note characterizations and overly earnest acting — even by such veterans as Treat Williams, Bruce Davison and Henry Thomas — that conspire to turn this potentially moving and exciting picture into mush.
  5. An undeniably heartfelt if overlong affair, especially for the uninitiated.
  6. The Current War: Director’s Cut is an interesting yarn. But one just can’t shake the feeling that it’s just a Wikipedia article jazzed up with a lot of fun camera tricks and some cinematic wizardry, though Westinghouse and Edison would have to be proud of the amazing movie magic.
  7. Although it may initially seem like a fairly wispy story of family dynamics and romantic uncertainty, there’s a subtle depth to the proceedings that creeps up on you in resonant ways.
  8. This isn’t a subtle, moody film filled with a sense of unease; instead, jump scares are around every corner. If that’s all you want from a horror movie, you’ll have a very good time — and an elevated heart rate for its speedy 90 minutes.
  9. The totality of Fantastic Fungi is so entertaining, informative and appealingly hopeful about the hard-working cure-all for our ailing world lying beneath our feet.
  10. The visually poetic film offers an appraisal of Cash’s life and craft that is both painfully candid and often revelatory.
  11. In lieu of poetry, [Ozon] has composed an exemplary piece of prose: clear, direct and quietly illuminating. At the same time, you would hardly describe this movie as neutral or devoid of anger. On the contrary, its moral outrage is all the more pronounced for being so controlled.
  12. Though she’s a first-time director, Costin has put together a film that’s a savvy cinematic education as well as pure fun. If you care about the movies, don’t even think of staying away.
  13. This indulgent, overlong film takes a solid hour for its bigger themes of love, loss and guilt to settle in. By then, however, the movie has tried our patience to the point that many may not care.
  14. As metaphors for America go, it might just put a hopeful smile on your face after another stomach-churning political news day.
  15. By the end, you almost want every recording artist with Springsteen’s compassion and lyricism to introduce their newest material the way he does in “Western Stars,” like a docent of everyone’s damaged soul, pointing to the parts that make not just the music, but the musician, too.
  16. This riveting documentary should be required viewing for all.
  17. Provides a timely reminder of the once unquestionable value of a shared viewing experience in this era of personal streaming.
  18. Some distance between the source and the story would have benefited the themes at play, which end up buried beneath punches, slurs and bestial masculinity.
  19. The nonstop mayhem will delight “One Piece” fans, but the uninitiated may find the film exhausting.
  20. Krauss digs into the murky, uneasy morality of wartime, but The Kill Team doesn’t quite convey the brutality of these crimes with the same power that news accounts or even Krauss’ own documentary have.
  21. Miller, like most directors, isn’t remotely in Cameron’s league as a maestro of action technique. But he gives the visual-effects-encrusted combat scenes a nicely visceral intensity, with just the right ratio of spatial coherence to logistical chaos.
  22. A shockingly alarming investigation produced with the sensibilities of a social realist drama, Sarbil and Jones’ nonfiction warning should petrify U.S. viewers immeasurably.
  23. Rezo Gabriadze comes across as a genial, unpretentious man. But the viewer sees too little of the internationally respected artist and leaves feeling shortchanged.
  24. Though the narrative often lags or stops outright to revel in Nourry’s art, when the film dives into her struggles with identity in relationship to cancer through art, it’s fascinating, and very emotional.
  25. The overtly graphic isn’t Glavonic’s visual style, but rather a cold, more powerful image seepage — what a man’s physicality says about complicity, and what a shot of the muddied ground near a hosed-down truck says about what war does to the ground, a land and the soul.
  26. Ultimately more a curio than a bona fide buried treasure, the forward-thinking production, with its animated opening credits and resourceful use of models, makeup and double exposures, nevertheless serves as a valuable reminder that imagination and creativity needn’t ever be limited by the going technology.
  27. Cultural distinctiveness, in tandem with stylistic boldness, renders it an unprecedented feat. Thankfully, the proficient English-language dub aids in our ability to register the plot’s intricacies.
  28. Wallflower is a grueling viewing experience at times, and it never truly justifies its existence and the audience going through that pain.
  29. The peek into this world, at this time, feels like a rare treat, an unearthed gem released from a vault.

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