Los Angeles Times' Scores

For 10,680 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Love & Friendship
Lowest review score: 0 Saw 3D
Score distribution:
10680 movie reviews
  1. American Assassin is a serviceable, workman-like thriller that makes the familiar as involving as its going to get. It demonstrates that even Jason Bourne lite is better than no Bourne at all, if you're in the mood.
  2. There are occasionally atmospheric shots of depopulated boardwalks and streets, but the strain to give the visuals meaning becomes its own clue in the worst crime committed here: the killing of good storytelling.
  3. Unfortunately, this overlong picture rarely feels particularly authentic.
  4. School Life is as charming, intimate and warm-hearted an observational documentary as you'd ever want to see.
  5. There’s barely a convincing — or amusing — situation or interaction, including the film’s climactic nuptials, which also turn fatally contrived.
  6. Though this story couldn't mean more to Jolie, she hasn't been able to make it mean as much to us. Scrupulous and perhaps constrained at the thought of overdoing things, Jolie has allowed the enormity of the story to get the best of her, creating a film that is more disturbing than moving.
  7. Cinematically and emotionally it’s a mixed bag, a slow-moving visual treatise and occasional vanity piece that requires — but doesn’t always earn — our indulgence.
  8. Starting from a single key insight into human behavior — the natural compulsion to compare oneself to others — White has spun a funny, empathetic and surprisingly grounded comedy that itself defies obvious comparisons.
  9. The movie is a savage attack on the egomania that enables a director to fancy himself a deity, as well as the rotten patriarchies that govern the worlds of art, industry and religion alike, with Lawrence embodying the wise but perpetually ignored voice of the divine feminine.
  10. As fingers move Polaroids around in the frame, or faces in jarring close-up grapple with unresolved tragedy, you realize Strong Island is a state-of-mind piece, surveying the wreckage from within.
  11. With lines drawn along politics, class, race and economics, the strange-bedfellows issue of top-dollar killing and queasy conservation is one that Trophy...lays bare with gruesome, grim exactitude.
  12. The quasi-magical realist film In Search of Fellini has its heart in the right place but wears its studied quirks on its sleeve, leading with influences and references rather than a strong story.
  13. Kill Me Please acknowledges the dark and riotous physical energy of teen girls in this tribute to slasher films and coming-of-age comedies that proves to be a new classic from first frame to last.
  14. A creeping naturalism inhabits virtually every frame of Dayveon.
  15. 9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.
  16. Trengove’s direction keeps things firmly grounded in the play of glances and intimacies under shelter of nature’s seclusion — dusk-lit silhouettes stealing moments, a waterfall rendezvous.
  17. Frost memorializes his experience of this day, but it’s just not enough to make a significant comment about the event.
  18. It
    Mama maestro Andy Muschietti directs this visually splendid but thematically toned-down interpretation with finesse, crafting a world rich in detail where menace lurks in every shadow.
  19. The unexpected thing about Dolores, finally, is that if its political story makes it important, its human story makes it involving.
  20. The rousing Indian drama Lipstick Under My Burkha, co-written and directed by Alankrita Shrivastava, takes on the repressive traditions around gender and sexuality in that country with refreshing candor and humor.
  21. Because the actors deliver every line in a breathless rush, their performances are monotone; and because Burrows throws in new characters and ideas every few minutes, the resolution to this story comes out rushed and goofy, and not as poignant as intended.
  22. Inventive and imaginative, Napping Princess confirms [Kamiyama] as one of the most interesting writer-directors working in Japanese animation.
  23. Embargo plays like a freshman college paper that’s long on reference material but comes up short in establishing an overriding premise.
  24. Those with the fortitude to relive the events of the morning of 9/11 should find the documentary Man in Red Bandana a powerful and inspiring experience.
  25. The movie has enough of Woods’ flavor to put a memorable spin on a familiar genre — so much so that it’s almost a crime it isn’t better.
  26. Had a minimal effort been made to address policing controversies in the context of an honest argument that the job is grueling and perilous, Fallen might have been more powerful.
  27. There’s no artifice in this documentary, with the director simply presenting the women’s lives as they tell them, one after another. Slow-moving and sad, Twenty Two isn’t easy to watch, but it isn’t meant to be.
  28. Guzzoni’s movie is an unsparing portrait of aimlessness told mostly in the queasiest shades.
  29. The fact-based story, which is allowed to quietly unfold in a series of extended takes, has been stripped of all artifice, especially in regard to the pared-back performances of Harewood, a British actor with regular roles on “Homeland” and “Supergirl,” and Findley, who starred in Ava DuVernay’s 2012 breakthrough feature, “Middle of Nowhere.”
  30. The biggest problem for Gun Shy isn’t its ridiculous premise or its frequently silly tone; it’s that it doesn’t fully commit to either.

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