Los Angeles Times' Scores

For 9,682 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 Fair Game
Score distribution:
9682 movie reviews
  1. Imaginatively interspersing testimonials with reenactments, comic panels and Claymation, the film plays out like an entertaining absurdist satire.
  2. In its determination to overdo sure-fire material, Billy Elliot becomes as impossible to wholeheartedly embrace as it is to completely reject.
  3. Heavy on swordplay and spectacle, it's so intent on reviving the costume epics of the past it doesn't realize it's trying to be too many things to too many people until it collapses under its own weight.
  4. Lively and often comical.
    • 63 Metascore
    • 60 Critic Score
    Its individual moments are quite seductive. But if there is a deeper meaning — of what it means to hit the rails in the 21st century, to peer into America's de-industrialized guts — it lies well beyond the scope of this film.
  5. The film's heart is unmistakably in the right place — even when the camera isn't.
  6. You can see the years of effort, the polish and precision that went into creating The Boxtrolls... But somehow it still doesn't add up to enough.
  7. Movies about male friendship are often trivialized with the "buddy" tag, but this one resonates beyond that.
  8. A likably thoughtful romantic comedy.
  9. The Road Within suffers from midfilm wandering and a hasty ending, but the message of self-acceptance rings true and clear.
  10. Like many music documentaries, this film suffers from the tendency to reiterate its point too often.
  11. Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.
  12. The will-he-or-won't-he question becomes the focus of director Mark Raso's film, and how William responds under the mercy of Effy's whims ultimately determines whether he can emerge from his self-absorption at long last.
  13. Compelling as Zylka and Keough may be — and we're definitely rooting for their well-etched characters — Bedford too often plies a kind of woeful wooziness here when a more propulsive approach is in order.
  14. Unbelievers' is a high-minded love fest between two deeply committed atheistic intellectuals and their rock star-like fan base.
  15. Less a documentary than an acutely positioned marketing tool, Mindless Behavior: All Around the World delivers a chaotically high-energy burst of performance and behind-the-scenes footage for fans of the slickly produced hip-hop boy band.
  16. Seasoned pros Allen and LaPaglia are terrific as longtime mates forged together in an unexpected game of cat and mouse.
  17. As another run-of-the-mill Sandler movie, it is better than most. At this point it seems a little foolish to want, let alone expect, "more" from the guy. If he can't be bothered to put more effort into his films, why should anybody else?
  18. Cube fills the bill as the shaggy, aimless Curtis, a veritable ghost of glories past. It's not a particularly layered performance, but it works.
  19. The scrappy superhero-noir indie Sparks busks its 1940s saga of dark redemption with considerable visual energy, if not always coherence or competence.
  20. Though it's a decidedly arty piece, Leviathan, named after the biblical sea creature, also lacks much in the way of traditional beauty or splendor. However, the immersive shots of those swooping and circling sea gulls are quite something.
  21. Jakubowicz has aptly said of his film that "the beauty of Secuestro Express is how localized it is. The more local it becomes, the more universal it becomes." The truth of his remark resonates throughout this fast and furious film.
  22. With her Modigliani mystery, Charlotte Gainsbourg brings aching melancholy to the role of Dawn. As compelling as she is to watch, though, the character's passivity saps the film of energy, especially in its first half, which is all but devoid of tension.
  23. Get past what sounds like a melodrama about a forbidden love affair, and director Oren Jacoby's carefully crafted film deftly blends archival footage with dramatic re-creations and interviews with surviving family members to illuminating effect.
  24. Light and frothy though all this is, there is an off-putting element to "Josie," and it's what must be the film's world record number of product placements.
  25. All in all, Call + Response makes alarmingly clear how ugly, pervasive and out-in-the-open the trade in humans for sex or labor often is.
  26. Closer in texture and consistency to individually wrapped American cheese than good, tangy English cheddar. But even humble plastic-wrapped cheese has its virtues and so does this film.
  27. In Tetro, nearly every time Coppola should have clung to intimacy, he opts for excess. Especially tedious are the meta excerpts from staged productions -- overcompensation trying to masquerade as illumination. Regrettable since there is such fine work being done in the smaller moments.
  28. For the future, the Saint is such an unpleasant and predatory manipulator, it's difficult to root for romance. And when Kilmer's mightily convincing Ice King begins to melt, it's so out of character with what's gone before that its believability is touch and go.
  29. The uncomfortable reality remains that although this movie is effective moment to moment, very little of it lingers in the mind afterward. The ideal vehicle for our age of immediate sensation and instant gratification, it disappears without a trace almost as soon as it's consumed.

Top Trailers