Los Angeles Times' Scores

For 7,955 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Lethal Weapon 4
Score distribution:
7,955 movie reviews
  1. Deliciously funny and fiendishly clever con-man comedy that begins on a note of ingenuity that it then sustains with the tension of a high-wire act.
  2. This is one of the few adaptations that gives a splendid novel the film it deserves.
  3. Seems every bit the masterpiece it was when first released by Paramount. In this dazzling film, Bertolucci manages to combine the bravura style of Fellini, the acute sense of period of Visconti and the fervent political commitment of Elio Petri -- and, better still, a lack of self-indulgence.
  4. Never has Denis demanded so much from audiences as with this shimmering enigma, at once intimate and epic, but it's worth the effort and then some.
  5. The Manchurian Candidate proves that its fascination is intact. [12 Jan 1998, p.C1; Re-Release]
    • Los Angeles Times
  6. The musical biography of comedian Fanny Brice emerges as a true classic, as enthralling as the day it was released in 1968. It is a superb example of Hollywood craftsmanship in which all elements have been blended to perfection with inspired artistry.
  7. Post Tenebras Lux is that real rarity in cinema, a visually striking archaeology of the psyche that benefits both the moviegoer primed to engage Reygadas' ideas, and the ones open to being swallowed in an art film wave.
  8. For fans of this kind of roots music, it was an event you would have given anything to attend. Down From the Mountain lets you do that and gives you terrific seats in the bargain.
  9. Self-discovery always comes with a cost, and in Bliss the price is a great one. It is mesmerizing to watch it unfold in the lives of these two young people.
  10. Locke stands out both for the way filmmaker Knight conceived and executed it and for the kind of hypnotic acting Hardy can be counted on to bring to the table.
  11. A wonder several times over.
  12. A beautiful film that flows with a luminous ease and assurance.
  13. Terrific archival footage from a range of seminal civil rights events, as well as affecting narration written by Sarah Kunstler and spoken by Emily Kunstler (who also edited the film), round out this superior documentary.
  14. We may have seen it all before, but when it's done up like this, experiencing it all over again is a pleasure. [16 June 1999, Calendar, p.F-1]
    • Los Angeles Times
  15. Armstrong, screenplay adapter/co-producer Robin Swicord and their colleagues have got everything just right. [23 Dec 1994]
    • Los Angeles Times
  16. Intelligent, poignant film.
  17. A moving and joyous behind-the-scenes documentary about a world filled with big, bold personalities and the music they make.
  18. The truth-is-stranger-than-fiction saga has been a hit on the festival circuit, winning top documentary prizes at Sundance for Sweden's Bendjelloul. What sets Searching for Sugar Man apart, though, is the way in which the filmmaker preserves a sense of mystery in the telling.
  19. Mean Creek's greatest asset is its sense of truth. It doesn't pander to or indulge its characters like the teen films we're used to. It looks at them straight ahead and with respect. It's something you wish Hollywood, and even parents, did more often.
  20. Intense, immersive and in control, Winter's Bone has an art house soul inside a B picture body, and that proves to be a potent combination indeed.
  21. A story about generational expectations and cultural shifts, The Edge of Heaven raises questions it can't answer, which makes it only more powerful.
  22. A teen comedy that actually puts a priority on intelligence and values and spans generations in its appeal, emerging as a special delight for anyone for whom high school was something less than nirvana. [29 Jan 1999, p.6]
    • Los Angeles Times
  23. Secret Ballot, which has a rich, spare score by Michael Galasso that blends Eastern and Western motifs, is funny, provocative, well-paced and leaves a memorable bittersweet aftertaste.
  24. This is the best class of poetic realism, the kind you can believe in without a trace of hesitation.
  25. A gorgeous film with a vision strong enough to sustain heart-tugging, heightened by San Bao's romantic score, that verges on the sentimental.
  26. Alternately heart-wrenching, dismaying, raw and even funny, Solas is ultimately a wonderfully warm and embracing experience.
  27. It is also hard not to see remnants of a younger Michael Caine -- beautifully seductive and enigmatic all those years ago in "Alfie." He has said his wife cried when she saw the performance; you understand why.
  28. Its privileged glimpse deep into unfamiliar spiritual territory has the strength of revelation.
  29. A provocatively structured and thrillingly executed film noir, an intricate, inventive use of cinema's possibilities that pushes what can be done on screen in an unusual direction.
  30. Patrice Leconte has long ago mastered a Gallic specialty: the knack of making impeccably polished, graceful films with an unpretentious ease while allowing them to emerge seeming fresh and spontaneous. Leconte's latest film to reach the U.S. reveals him to be at his slyest best.

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