Los Angeles Times' Scores

For 8,094 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Ponyo
Lowest review score: 0 What Love Is
Score distribution:
8,094 movie reviews
  1. Witty, urbane and thoroughly entertaining.
  2. As the summer heats up, let Frozen River wash over you; let its bracing drama and the intensity of its acting restore your spirits as well as your faith in American independent film.
  3. A string of unlikely events and coincidences set off Night Falls, and Lumet makes them believable the old-fashioned way: through interaction with a screen full of strongly drawn, fully dimensioned, psychologically valid characters.
  4. The writer-director's familiar style blends with a group of unexpected factors to create a magnificently cockeyed entertainment.
  5. Stirred up impassioned debate everywhere; it would seem the greatest compliment that could be paid a stunning entertainment. [30 June 1989, Calendar, p.6-1]
    • Los Angeles Times
  6. Short Term 12 is a small wonder, a film of exceptional naturalness and empathy that takes material about troubled teenagers and young adults that could have been generic and turns it into something moving and intimate.
  7. As he did in "Unforgiven," "Mystic River" and "Million Dollar Baby," Eastwood handles this nuanced material with aplomb, giving every element of this complex story just the weight it deserves. The director's lean dispassion, his increased willingness to be strongly emotional while retaining an instinctive restraint, continues to astonish.
  8. Verbinski's greatest triumph is that he allowed the animation to free rather that confine him. There is indeed a new sheriff in town, with Rango destined to become a classic.
  9. Assayas has made a great film from Jacques Chardonne's classic novel. Although far different in tone, time, place and temperament, it brings to mind "Gone With the Wind" in its depth and scope and in its love story, which unfolds over a turbulent era.
  10. Irresistibly funny… Just about the best holiday gift imaginable. [23 Dec 1988, Calendar, p.6-1]
    • Los Angeles Times
  11. If in Bresson's films nothing ever seems out of place or superfluous it's because he strove to find the essential truth of the image. Not an image or sound is wasted -- or offered up in self-glorification -- and from such seeming simplicity there arises a world of feeling.
  12. Exceptionally well-made and completely fearless in its depiction of the widest range of romantic emotions, this is a film as fiercely committed to passion as its heroine, and that's saying a lot.
  13. With that fire in his belly, Raimi's Drag Me to Hell does everything we want a horror film to do: It is fearsomely scary, wickedly funny and diabolically gross.
  14. Director Spike Lee has made some of the most hard-edged and unsettling American films on racism and its effects. Yet none has been as moving as this. [24 Oct 1997, Pg.F2]
    • Los Angeles Times
    • 79 Metascore
    • 100 Critic Score
    What makes The Fly such a stunning piece of obsessive film making is the way Cronenberg deftly allows us to identify with his monstrous creation. [14 Aug 1986]
    • Los Angeles Times
  15. On the screen, the rip-roaring rock musical Hedwig and the Angry Inch retains all the excitement and energy it had on stage while adding depth, clarity and emotional texture.
  16. A magnificent film almost no one knows about, this hidden classic offers a wider variety of pleasures than most contemporary works can even aspire to.
  17. Ratatouille is as audacious as they come. It takes risks and goes places other films wouldn't dare, and it ends up putting rival imaginations in the shade.
  18. In "Django," Tarantino is a man unchained, creating his most articulate, intriguing, provoking, appalling, hilarious, exhilarating, scathing and downright entertaining film yet.
  19. The film perfectly understands the tentative experimentation and frequent self-loathing of adolescence, the difficulty of knowing whom to trust and how much to trust them, as well as how incendiary an age this can be, with uncertain psyches ready to explode at minimal provocation.
  20. Simultaneously heroic and nihilistic, reeking of myth but modern as they come, it is a Western for those who know and chrish the form, a film that resonates with the spirit of films past while staking out a territory quite its own. [7 Aug 1992]
    • Los Angeles Times
  21. Effortless and effervescent, Frances Ha is a small miracle of a movie, honest and funny with an aim that's true.
  22. It enables us to recapture exactly the delightful sensations felt all those years ago when we and the world were young and exciting together.
  23. A complete original. This ingenious, almost indescribable film won't remind you of anything else because there's nothing else like it.
  24. As extraordinary as all of this imagery is, it is the film's sound design that takes it to another level. A quirky, electric mix of ambient sound, effects and music by composer Bruno Coulais and sound designer Laurent Quaglio gives the film its heart and its sense of humor.
  25. Silent Souls is a marvel. Fedorchenko's expressive powers and his visual prowess are astonishing, and though the film's conclusion is abrupt and confounding, it feels right.
  26. This is a film with a commitment to reality unlike any we're used to seeing.
  27. Seeing E.T. again reminds us of how much we've remained the same, how gratified we still are by a film that connects so beautifully to our sense of wonder and joy.
  28. Intelligent, involving and conspicuously adult, Starting Out in the Evening is almost shocking in its distinctiveness, its ability to create high drama from an unlikely source.
  29. It's one terrific film, as smart, thoughtful and emotionally involving as just about anything that's out there.

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