Los Angeles Times' Scores

For 7,955 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: 61
Highest review score: 100 Hoop Dreams
Lowest review score: 0 21 and Over
Score distribution:
7,955 movie reviews
  1. It's hard to imagine many films surpassing or even equaling the effect of this supple, breathtakingly direct, small French film.
  2. It is Scott's work as the savagely articulate Roger, a tireless would-be seducer, bottomlessly self-confident and oblivious to rejection, that is the film's glistening and provocative centerpiece.
  3. Like taking a drug everyone says is dynamite and impatiently wondering why the heck it's not kicking in. The kick in fact turns out to be real, and as powerful as advertised, but it doesn't necessarily hit you in any way you anticipated.
  4. Made with palpable energy, intensity and excitement, it compellingly creates a world gone mad that is uncomfortably close to the one we live in. It is a "Blade Runner" for the 21st century, a worthy successor to that epic of dystopian decay
  5. A clear-eyed vision. Authentic as an Edward Curtis photograph, lyrical as a George Catlin oil or a Karl Bodmer landscape, this is a film with a pure ring to it. It's impossible to call it anything but epic [9 Nov 1990, Calendar, p.F-1]
    • Los Angeles Times
  6. Watching Marwencol, Jeff Malmberg's probing documentary on Hogancamp's undertaking, is an exhilarating, utterly unique experience.
  7. Impeccably made and uncompromisingly adult, Claude Chabrol's A Girl Cut in Two is unquestionably the work of a master.
  8. A period chamber drama drawn from a Joseph Conrad short story and of such intensity and passion that it transcends a specificity of time and place to achieve timelessness and universality.
  9. In the hands of two of the craft's best, the most ordinary of moments become illuminating, penetrating.
  10. Adventurous, provocative, even daring.
  11. It's the film's glowing visual qualities, a striking performance by Denzel Washington and the elegant control Carl Franklin has over it all that create the most exotic crime entertainment of the season.
  12. The most convincing war movie ever made.
    • Los Angeles Times
  13. Nearly three hours long, and deliberately paced at that, this first feature ever in the Inuit language is a demanding experience. But the rewards for those who risk the journey are simply extraordinary.
  14. Set in an enchanting locale where the potential for magic is everywhere, this impeccable animated film puts its complete trust in the spirit of make-believe.
  15. Masterfully put-together, made with confidence, intelligence and command.
  16. This delicious satire about aging hipsters and their discontents is everything we've come to expect from the best of Noah Baumbach, as well as several things more.
  17. Nebraska offers something deeper and more mature, the ability to make us care about its characters and their story on a different level than Payne has given us before.
  18. This is a film that insinuates itself deeply into our awareness. It's that rare pulp story with something on its mind, an unnerving, socially conscious thriller with a killer sense of narrative drive.
  19. A little movie with big truths, a work of such fierce intelligence and emotional honesty that it blows away the competition when it comes to contemporary romantic comedy.
  20. An intense, nihilistic thriller as well as a model of implacable storytelling, this is a film you can't stop watching even though you very much wish you could. That's because No Country escorts you through a world so pitilessly bleak, "you put your soul at hazard," as one character says, to be part of it.
  21. “Donnie Darko" was one of the best pictures released in 2001. Now that it has returned in a 20-minute longer--and richer -- director's cut, it seems sure to be ranked as one of the key American films of the decade.
  22. Authenticity gives the movie its witty, heartwarming, hopeful, sentimental, searing and relatable edge. It is merciless in probing the tender spots of times like these, and tough-guy sweet in patching up the wounds.
  23. His is a triumph of pure filmmaking, a pitiless, unrelenting, no-excuses war movie so thoroughly convincing it's frequently difficult to believe it is a staged re-creation.
  24. The Ghost Writer is the kind of impeccable adult entertainment, able to alternate edge-of-your-seat episodes with bleakly comic moments, that Hitchcock used to specialize in and that Polanski himself realized so successfully in "Chinatown" and "Rosemary's Baby."
  25. It's hard to believe, but Hal Holbrook, one of the stage and screen's enduring talents, has never had the solo lead in a feature film. That has been duly rectified with the actor's achingly memorable star performance in the superb That Evening Sun.
  26. [A] crackerjack thriller, at once brooding, claustrophobic and unbearably tense.
  27. Exciting, terrifying, worrisome stuff saturates every second of Prisoners, holding you captive, keeping you guessing until the bitter end.
  28. A gritty, deceptively low-key, no-fuss, no-frills movie of consistent originality and surprise in which suspense arises straight up from the heroine's evolving character.
  29. As essential in its own way as Anton Karas' celebrated zither work was to "The Third Man," Lola's music is perfectly suited to the film's aims and just about addictive in its throbbing, insinuating rhythms.
  30. This is a police procedural, if you will, about what's been called the artistic crime of the century.

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