Los Angeles Times' Scores

For 7,510 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Reversal of Fortune
Lowest review score: 0 21 and Over
Score distribution:
7,510 movie reviews
  1. The film's immense cast and crew, headed by director Michael Bay, writer Randall Wallace and stars Ben Affleck, Josh Hartnett and Kate Beckinsale, blend artistry and technology to create a blockbuster entertainment that has passion, valor and tremendous action.
  2. A clear-eyed vision. Authentic as an Edward Curtis photograph, lyrical as a George Catlin oil or a Karl Bodmer landscape, this is a film with a pure ring to it. It's impossible to call it anything but epic [9 Nov 1990, Calendar, p.F-1]
    • Los Angeles Times
  3. Diamond-hard and mesmerizing… Bening and Cusack are perfection at what they are doing, she twinkly as any rhinestone, he dangerously passive; it's hardly their fault that Huston is the motor of the piece and so ferociously seductive that one cannot look away from her. [5 Dec 1990]
    • Los Angeles Times
  4. Rising to crescendos of emotion usually reached only by tenors and sopranos, these characters are the beneficiaries of the luminous writing of the novel and screenplay as well as the expert performances of the actors, especially Scott Thomas.
  5. A dazzling epic of love, guns, gangsters and cigarettes.
  6. Likely as not, these things mean nothing in a conventional plot sense, but as powerful images, as pictures from a dreamlike world, they are unforgettable. And that, David Lynch would probably say, is exactly the point.
  7. GoodFellas is "Raging Bull" squared. [20 September 1990, Calendar, p.F-1]
    • Los Angeles Times
  8. Mellow, beautiful, rich and brimming with love, "Hannah" is the best Woody Allen yet and, quite simply, a great film. [7 February 1986, Calendar, p.6-1]
    • Los Angeles Times
  9. Adventurous, provocative, even daring.
  10. Superb.
  11. Overflowing with life, rich with all the grand emotions and vital juices of existence, up to and including blood. And its deaths, like that of Hotspur in "Henry IV, Part I," continue to shock no matter how often we've watched them coming. [16 Mar 1997, Calendar, p.7]
    • Los Angeles Times
  12. A sleek, accomplished piece of work, meticulously controlled and completely involving. The dark end of the street doesn't get much more inviting than this.
  13. Popular filmmaking at its smartest and most persuasive.
  14. The most brilliantly disturbing film ever to have its roots in small-town American life. [19 September 1986, Calendar, p.6-1]
    • Los Angeles Times
  15. Like taking a drug everyone says is dynamite and impatiently wondering why the heck it's not kicking in. The kick in fact turns out to be real, and as powerful as advertised, but it doesn't necessarily hit you in any way you anticipated.
  16. Star Michael Caine, who gives one of the great, inescapably moving performances in a career filled with them, based his character on personal impressions of the late author. And Greene's lifelong concern with moral ambiguity gives this film a texture and complexity that movies don't usually achieve.
  17. Creates magic of a completely different sort. It makes the unlikeliest subject unforgettable, finding drama, beauty, even poetry in simple things and simple lives.
  18. A whole world can be fit into 76 minutes, and that's what the splendid documentary OT: our town manages to do.
  19. Made with intelligence, imagination, passion and skill, propulsively paced and shot through with an aged-in-oak sense of wonder, the trilogy's first film so thrillingly catches us up in its sweeping story that nothing matters but the vivid and compelling events unfolding on the screen.
  20. May be the best "new" American movie released this year. [11 Sept 1992]
    • Los Angeles Times
  21. More elaborate than the original, but just as shrewdly put together, it cleverly combines the most successful elements of its predecessor with a number of new twists (would you believe a kinder, gentler Terminator?) to produce on e hell of a wild ride, a Twilight of the Gods that takes no prisoners and leaves audiences desperate for mercy. [3 July 1991, Calendar, p.F-1]
    • Los Angeles Times
  22. Such nourishing comedy. It satisfies every hunger, especially the irrational ones that seem to hit hardest at holidays: hunger for impetuous romance and for the reassuring warmth of family, for reckless abandon, and for knowing who we are and what we want. [16 Dec 1987]
    • Los Angeles Times
  23. Although its computer-generated imagery is impressive, the major surprise of this bright foray into a new kind of animation is how much cleverness has been invested in story and dialogue.
  24. Prepare to be astonished by Spirited Away.
  25. It's typical of the nerve, the bravado, the sheer giddy playfulness and sense of fun that characterize what has to be the boldest and most imaginative studio film of the year.
  26. 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.
  27. Effervescent, unflappable, supremely pleased with herself, Cher (delightfully played by the much-publicized Alicia Silverstone) is the comic centerpiece of Clueless, a wickedly funny teen-age farce from writer-director Amy Heckerling that, like its heroine, turns out to have more to it than anyone could anticipate. [19 July 1995]
    • Los Angeles Times
  28. The film's three leads are extraordinary, but what Moore does with her role is so beyond the parameters of what we call great acting that it nearly defies categorization.
  29. A splendid film. It uses all the resources of cinema -- masterful writing, superb acting, directorial intelligence, an enveloping score, top-of-the-line production design, costumes, cinematography and editing -- to make a film whose cumulative emotional power takes viewers by surprise, capturing us unawares in its ability to move us as deeply as it does.
  30. A thoroughly original accomplishment of a high artistic order, Northfork features flawless, spare production design by Ichelle Spitzig and the Polish brothers' father, Del, and cinematographer M. David Mullen's striking images slide effortlessly into Dalí-like Surrealism.

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