Los Angeles Times' Scores

For 9,751 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 The Wolf of Wall Street
Lowest review score: 0 The Cell
Score distribution:
9751 movie reviews
  1. The electrifying Northern Soul captures the 1970s British club scene of the same name with ethnographic detail and ebullient style.
  2. Finlay unearths a fascinating biography filled with reversals, comebacks and false starts.
  3. While other films struggle for their effects, Brothers simply lives and breathes, thoroughly likable from beginning to end.
  4. Intoxicating and meditative by turns, helped by Fred Frith's minimalist score, this film opens a portal into a singular creative mind.
  5. If Watermark does nothing else, it will make you question society's contradictory view of water use.
  6. Off-and-on cynical and sentimental, Russell's darkly comic tale shows how much can be done with familiar material when you're burning to do things differently and have the gifts to pull that off.
  7. It's the style of the thing, not the plot, that is the attraction here, the great way the cast has with the snarky dialogue.
  8. A low-key, near-total charmer, writer-director Charles Poekel's Christmas, Again captures something ineffably moving about the holiday grind.
  9. Josh Aronson's Sound and Fury, as illuminating and comprehensive as it is heart-wrenching, is an example of what the documentary can accomplish at its most vital and engaging.
  10. One thing that makes Lunchbox so strong is that a touch of melancholy hangs over its sweetness. Finally this is a film about the wheel of life, about what helps us cope with its turns and find our way in its unforgiving labyrinth.
  11. Like everything else about this lovely film, life, love and emotional growth are marked out in lush, languid, luminous terms.
  12. Spring Forward is so fully realized and so moving that you wish you could get away with merely saying: "Go see it for yourself."
  13. There is a sophistication about affairs of the heart, about the wisdom and the risks of romantic involvement that is more than quintessentially French. It's irresistible as well.
  14. Something seldom seen: an original romantic comedy.
  15. One of the better documentaries I'd seen in years -- it plays like a suspense thriller because that's exactly what it is.
  16. What Live-in Maid offers is a pitch-perfect observation of life on a continent where forms are adhered to, distances aren't really kept, and your best friend is the person who knows to pour the cheap domestic whiskey into the empty bottle of imported stuff before your bridge buddies show up to judge you.
  17. The world of The Salesman isn’t quite as intricately imagined as some of its predecessors, and the story’s sleuthing element, while absorbing, often feels more narratively expedient than germane. But if the setup is creaky, the payoff, when it arrives, is a thing to behold.
  18. A remarkably rich documentary possessing depth, range, insight and compassion.
  19. Martel's sharp observations of the foibles of human nature are expressed perfectly in the telling images of cinematographer Hugo Colace and tight editing of Santiago Ricci.
  20. Tinker Tailor Soldier Spy is an enormously impressive piece of work.
  21. A film of exceptional emotional honesty.
  22. It's exhausting, exhilarating, riveting stuff that fans of high-octane filmmaking should not miss.
  23. Lumumba is potent stuff. Complex, powerful, intensely dramatic.
  24. Prechezer's cast is ingratiating and attractive, and Blue Juice is as buoyant as its terrific rock score.
  25. Biting and vicious, a styptic pencil on the battered face of "civilized divorce." It's also thoughtful, laceratingly funny, and bravely true to its own black-and-blue comic vision. [8 Dec 1989]
    • Los Angeles Times
  26. A story that won't go away, won't leave you alone, won't let you feel at ease. Intensely dramatic, filled with elevated heroism, crass self-interest and blatant stupidity, it's a paradigmatic narrative of our tendentious, turbulent times.
  27. Halloween: H20 is as stylish and scary as it is ultra-violent. It's a work of superior craftsmanship in all aspects.
  28. With Bad Education, Almodóvar is at his most breathtakingly complex and mature, and at his most pessimistic.
  29. Identifying herself with other minorities (whose members she mimics outrageously), Cho shatters racial and sexual stereotypes with merciless wit.
  30. Hairspray is a deliriously fast and funny satire of the '60s that marks John Waters' best shot yet at mainstream audiences. [25 Feb 1988, p.1]
    • Los Angeles Times

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