Los Angeles Times' Scores

For 8,040 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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:
8,040 movie reviews
  1. This is impressive filmmaking, but it is not easy to take in.
  2. Heartbreaking, haunting and unexpectedly heartening, First Cousin Once Removed is an uncommonly moving documentary portrait of a mind in disarray.
  3. 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
  4. Youth and death meet again in Gus Van Sant’s Paranoid Park, a gorgeously stark, mesmerizingly elliptical story told in the same lyrical-prosaic style that has characterized his latest films.
  5. Aatsinki is a work of cinéma vérité of the highest order: vivid, immersive and unflinching.
  6. Essential viewing.
  7. Moodysson captures that moment — charged, goofy and transcendent — when personal style and wide-ranging outrage fuse in an all-encompassing manifesto.
  8. Unquestionalby it's an instant classic, probably the grisliest well-made movie ever. [26 May 1983]
    • Los Angeles Times
  9. May well be Imamura's funniest film; it is also one of his most accomplished. It is the work of a mature artist who has kept his adventurous spirit alive, which he has expressed in a complex and risky work carried off with an effortlessness that comes only from wisdom and experience.
  10. Wickedly mocking but empathetic, able to laugh at its characters while paying attention to their sorrows, this subversive comedy about self-esteem resists the notion that films have to timidly remain within tidy genre rules.
  11. This is a performance, and a film, to cherish for this year and always.
  12. It's a shining valentine to the movies--full of homages, collages and swooningly romantic Ennio Morricone music--and it gets right at the messy, impure, wondrous way they capture and enrapture us. [16 February 1990, Calendar, p.F-1]
    • Los Angeles Times
  13. The City of Lost Children is a stunningly surreal fantasy, a fable of longing and danger, of heroic deeds and bravery, set in a brilliantly realized world of its own. It is one of the most audacious, original films of the year. [22 Dec 1995]
    • Los Angeles Times
  14. 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.
  15. Beautifully observed, precisely directed and acted with wonderful conviction, it pulls us into the life of its protagonist in a deeply involving way.
  16. People fall in love in every country, but nowhere is the experience put on film with the flawless style, empathy and emotion the French provide. Mademoiselle Chambon is the latest in that line of deeply moving romances, an exquisite chamber piece made with the kind of sensitivity and nuance that's become almost a lost art.
  17. A constant, idiosyncratic pleasure that leaves us eager to see what the Goodmans and Logue will do next.
  18. Anubhav Sinha's exhilarating fantasy Ra.One is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.
  19. Popular filmmaking at its smartest and most persuasive.
  20. Hittman's debut isn't just a brilliantly tactile study of the mounting sexual curiosity and frustration of 14-year-old Lila (Gina Piersanti); it's also an important landmark in the oft-ignored subgenre of realistic movies about female adolescence.
  21. Ida
    Spare, haunting, uncompromising, Ida is a film of exceptional artistry whose emotions are as potent and persuasive as its images are indelibly beautiful.
  22. A comedy poised on the knife's edge of tragedy, the film is a gutsy, truthful, deeply rooted vision of contemporary American life, scaled to the size of an ordinary man. It's a humanist triumph strip-mined of bathos and confirmation that, after directing just three features, Payne has become the most gifted comic social satirist to hit our movies since Preston Sturges.
  23. Frozen is fabulous.
  24. Lutz's dialogue is consistently sharp and snappy, and the large cast forms a sparkling ensemble under Junger's adept direction.
  25. For 20 years, Claire Denis has been among France's foremost filmmakers with her acute yet subtle observations of the ebbs and flows within relationships. Her perception and understanding seem to grow only richer over the years, and her newest film, 35 Shots of Rum, is surely one of her finest -- and thereby one of the best films of the year.
  26. 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
  27. A very fast three hours, Wolf is a fascinating, revolting, outlandish, uproarious, exhilarating and exhausting master work on immorality.
  28. Disturbing, disorienting, quietly terrifying, it's one of the least known of the world's great horror movies and, in its own dark way, a startlingly beautiful and artful piece of cinema as well.
  29. In short, Wonderland is an extraordinary film, as entertaining as it is observant, about ordinary people.
    • Los Angeles Times
  30. A beautifully done adaptation of the novel, polished, elegant and completely cinematic. It is also a bit distant, a film that doesn't wear its feelings on its sleeve, but given the effects it's after, that would be counterproductive. [17 Sept 1993, Calendar, p.F-1]
    • Los Angeles Times

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