Los Angeles Times' Scores

For 11,131 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 Chungking Express
Lowest review score: 0 The Red Pill
Score distribution:
11131 movie reviews
  1. For a film that unfolds mostly in a single location, Interview manages not to feel like a stage piece. But the premise, which may have worked in Holland, gets a little lost in the American translation.
  2. Too serious to be an out-and-out comedy, too funny not to be one, My Best Friend is a lot easier to enjoy than to classify.
  3. With its R&B soundtrack and footage of civil unrest, Talk to Me might seem to cover familiar ground. But as an intimate portrait of the complex, fruitful and extremely volatile friendship between trailblazing African American men whose daring came to redefine an industry, it's fresh and revelatory.
  4. Arias has a tendency toward creative overkill, mostly in the climax that renders with apocalyptic imagery the metaphysical consequences of Black and White's separation.
    • 65 Metascore
    • 60 Critic Score
    Skipping from one story to another and scrambling their relative chronologies, Drama/Mex presents a flashy package, but that only reveals the paucity of its ideas.
  5. It finally can't transcend the limitations inherent in being no more than a way station in an epic journey, a journey whose cinematic conclusion is several years away.
  6. Seductive and creepy, perfect for a hot summer night when nobody has the energy to pose a lot of questions.
  7. The movie belongs to Blethyn, who takes a difficult, easily misunderstood role and gracefully cracks it open to reveal what's inside.
  8. 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.
  9. Transformers' multiple earthling story lines are tedious and oddly lifeless, doing little besides marking time until those big toys fill the screen.
  10. The movie is a pastiche of tortured slapstick, groan-inducing dialogue and a lethal dose of treacle, apparently awaiting one of Williams' trademark sprees of riffing and vamping to save the day. That moment never comes, however.
  11. Sicko is likely Moore's most important, most impressive, most provocative film, and it's different from his others in significant ways.
  12. 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.
  13. For all of its class-act bona fides, Evening lurches between the morose and the sentimental, with occasional incursions into the absurd.
  14. Lamm effectively uses interviews with family members and the soap's users to draw a well-rounded portrait of the otherwise inscrutable senior Bronner. In doing so, she observes a bittersweet story of a family and the surprising effects a crusading eccentric can have on them.
  15. Combines complex relationships with a winning style of storytelling.
  16. A slick and efficient piece of action entertainment, fast moving with energetic stunt work and nice thriller moves.
  17. A forceful documentary set against the 2004 Haitian coup d'état that toppled the government of President Jean-Bertrand Aristide.
    • 53 Metascore
    • 40 Critic Score
    It's not vivid or harrowing enough to command attention. Worse, at a mere 76 minutes, the movie skips past what seems like lots of crucial exposition in favor of vague flashbacks and confusing inserts. The awkward documentary-style interviews don't help.
  18. In the grand scheme of things, the Dolphin Hotel is no Overlook, but it's no cheesy slaughter motel either.
  19. Carell is lovable as God's unwilling disciple. But the comedy is less than divine.
  20. Moving and frighteningly real.
    • 62 Metascore
    • 70 Critic Score
    The cast, including Tammy Davis as a handyman and Glenis Levestam as a housekeeper with a taste for innards, hits its marks flawlessly, even when the material isn't first-rate. Like "Shaun of the Dead," Black Sheep is at once exhilarating and self-deprecating, knowledgeable without being fannish, clever but not too clever.
  21. A wry, charming romance about a New York woman who has given up hope of finding love.
  22. 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.
  23. We've seen the inner lives of hit men and mobsters rendered innumerably in recent years on film and television, but You Kill Me does it in a satisfyingly comedic way, loaded with easily identifiable idiosyncrasies.
  24. Klimt comes alive only fitfully at best, and it seems that for those occasional moments when it comes into focus there is an equal number that are merely silly.
  25. Earnest, gee-whiz and foursquare, this simple and intentionally inoffensive sequel gets points for being easy to take and scrupulously avoiding obvious sources of irritation.
  26. Hopefully, the girls who see Nancy Drew this summer will take their cues from the smart, engaged, intellectually curious character Roberts so charmingly portrays.
  27. As it turns out, spending a couple of hours with emotionally arrested, socially moronic characters is not a whole lot more fun than spending a couple of hours with actual emotionally arrested, socially moronic people.

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