Los Angeles Times' Scores

For 7,757 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Duchess of Langeais
Lowest review score: 0 Carpool
Score distribution:
7,757 movie reviews
  1. It would seem impossible that anyone looking into the heart and the clear intent of the film would fail to see Scorsese's passion for his subject. And if our world is becoming so dangerously constricted that we're forbidden even to look, that is something we should all worry about. [12 Aug 1988, p.1]
    • Los Angeles Times
  2. Kon's best work yet.
  3. Ron Howard reaches real maturity here, as he pulls together the script's tendency to skitter between sociology and sitcom, making it into one perceptive, delicious whole. [2 Aug 1989, p.1]
    • Los Angeles Times
  4. Armstrong, screenplay adapter/co-producer Robin Swicord and their colleagues have got everything just right. [23 Dec 1994]
    • Los Angeles Times
  5. Broadcast News is so diabolically clever that you rather expect it to be heartless, in the way that so much surface cleverness can be. No such thing. Heartless is the wrong word for this movie: It's insightful and understanding and marvelous fun, while giving up none of its thoughtfulness. [16 Dec 1987, p.1]
    • Los Angeles Times
  6. Prechezer's cast is ingratiating and attractive, and Blue Juice is as buoyant as its terrific rock score.
  7. 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
  8. A lot of this horrific Little Shop is not only sweet, melodic, funny and oddly idealistic, it's even, well, tasty. [19 Dec 1986, p.1]
    • Los Angeles Times
  9. Moving and frighteningly real.
  10. The most frankly sensual movie in memory. Winner of five Cesars, the French Oscar, including best picture and best actress for its luminous star, Marina Hands, it has found the soul of the celebrated D.H. Lawrence novel.
  11. Sicko is likely Moore's most important, most impressive, most provocative film, and it's different from his others in significant ways.
  12. Aside from a riveting adventure story that Herzog tells in all of its terrifying, stripped-down simplicity, Rescue Dawn is a fascinating study of human particularity.
    • 89 Metascore
    • 90 Critic Score
    The result, narrated in a grave monotone by Campbell Scott, is a catalog of horrors so absurd and relentless it verges on farce, or Greek tragedy.
  13. The writer-director brilliantly juxtaposes the personal and the political, bookending a stirring coming-of-age drama with the provocative opening and an equally affecting end sequence.
  14. 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.
  15. It says something about Paul Greengrass' directing style that he's able to make a movie as fresh and frank as The Bourne Ultimatum from a genre as moldy and bombastic as the spy thriller.
  16. Floating in on an airy breeze of dreams and true love, the lively adventure-romance Stardust offers that elusive quality summer movies are supposed to possess but rarely do -- total escape.
  17. Disturbing, unnerving and wire-to-wire involving, Deep Water is the story of a dream that got so wildly out of hand that it ensnared the dreamer in an intricate trap of his own devising.
  18. James Mangold directs it with such energy and passion that it's as if he didn't know it's all been done before.
  19. The riveting documentary In the Shadow of the Moon, is an unexpected knockout.
  20. It's billed as an environmental horror story, but The Last Winter bears all the hallmarks of an ever-popular genre that has always pitted science, technology and reason against emotion, awe and nature. It bears all the hallmarks of the gothic: ghosts, death, alienated sexuality, decay, secrets, madness and, of course, awe and trepidation in the face of the sublime power of nature.
  21. For director Lou Ye, who also co-wrote the script and was a student in Beijing during that crucial year, Summer Palace is the story of his particular lost generation, a story he felt so deeply about he risked his career to tell it. Search out this vivid film in a theater. Don't let the sacrifices he made be in vain.
  22. This is no nostalgia trip taken by an 83-year-old director. It's a fierce, hot slap of a movie, a shameless melodrama with bite.
  23. The creators of this film were fiercely determined not to go so much as a millimeter over the line into sentiment, tawdriness or mockery. It's the rare film that is the best possible version of itself, but "Lars" fits that bill.
  24. Finely made and richly satisfying film.
  25. Simultaneously uplifting and melancholy, suffused with an unexpected sense of possibility as much as the inevitable sense of loss.
  26. It's important to remember that Sinclair was as much a committed socialist as a novelist, someone who probably wrote for political purpose more than for dramatic effect. So while Day-Lewis' gorgeous acting largely disguises it, the people in "Blood" tend to be schematic and the film as a whole has a weakness for the didactic.
  27. An understated gem. Writer-director Jeff Nichols, making his feature debut, has created a richly textured world.
  28. The camera is so unobtrusive and the acting so naturalistic that it takes a while for a narrative to emerge. When it finally does, you're surprised to find you're deeply invested in the characters.
  29. Shine a Light may not be the last Rolling Stones movie, but it's likely to be the last one with a touch of the poet about it.

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