Los Angeles Times' Scores

For 10,707 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 Jafar Panahi's Taxi
Lowest review score: 0 Showgirls
Score distribution:
10707 movie reviews
  1. I have only kind words for The Kind Words, an emotionally rich, beautifully textured family dramedy that touches on a wealth of interpersonal issues with buoyancy, charm and grace. It’s one of the best films so far this year.
  2. It's a shining valentine to the movies--full of homages, collages and swooningly romantic Ennio Morricone music--and it gets right at the messy, impure, wondrous way they capture and enrapture us. [16 February 1990, Calendar, p.F-1]
    • Los Angeles Times
  3. The City of Lost Children is a stunningly surreal fantasy, a fable of longing and danger, of heroic deeds and bravery, set in a brilliantly realized world of its own. It is one of the most audacious, original films of the year. [22 Dec 1995]
    • Los Angeles Times
  4. Rising to crescendos of emotion usually reached only by tenors and sopranos, these characters are the beneficiaries of the luminous writing of the novel and screenplay as well as the expert performances of the actors, especially Scott Thomas.
  5. Beautifully observed, precisely directed and acted with wonderful conviction, it pulls us into the life of its protagonist in a deeply involving way.
  6. People fall in love in every country, but nowhere is the experience put on film with the flawless style, empathy and emotion the French provide. Mademoiselle Chambon is the latest in that line of deeply moving romances, an exquisite chamber piece made with the kind of sensitivity and nuance that's become almost a lost art.
  7. A constant, idiosyncratic pleasure that leaves us eager to see what the Goodmans and Logue will do next.
  8. Anubhav Sinha's exhilarating fantasy Ra.One is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.
  9. Popular filmmaking at its smartest and most persuasive.
  10. Hittman's debut isn't just a brilliantly tactile study of the mounting sexual curiosity and frustration of 14-year-old Lila (Gina Piersanti); it's also an important landmark in the oft-ignored subgenre of realistic movies about female adolescence.
  11. Ida
    Spare, haunting, uncompromising, Ida is a film of exceptional artistry whose emotions are as potent and persuasive as its images are indelibly beautiful.
  12. Larraín told his producers he wouldn't do Jackie unless Natalie Portman agreed to take on the role, and her superb performance, utterly convincing without being anything like an impersonation, vindicates his determination.
  13. A comedy poised on the knife's edge of tragedy, the film is a gutsy, truthful, deeply rooted vision of contemporary American life, scaled to the size of an ordinary man. It's a humanist triumph strip-mined of bathos and confirmation that, after directing just three features, Payne has become the most gifted comic social satirist to hit our movies since Preston Sturges.
  14. 45 Years is a quietly explosive film, a potent drama with a nuanced feel for subtlety and emotional complications.
  15. Frozen is fabulous.
  16. Lutz's dialogue is consistently sharp and snappy, and the large cast forms a sparkling ensemble under Junger's adept direction.
  17. For 20 years, Claire Denis has been among France's foremost filmmakers with her acute yet subtle observations of the ebbs and flows within relationships. Her perception and understanding seem to grow only richer over the years, and her newest film, 35 Shots of Rum, is surely one of her finest -- and thereby one of the best films of the year.
  18. Building implacable dread and tension from scene to scene, the story is as simple as its underlying ideas are endlessly complex.
  19. At once a swift, relentless chase thriller and an exhilarating mood piece that recalls the great, gritty crime dramas of Sidney Lumet and Abel Ferrara, Good Time is also exactly what it says it is: a thrill, a blast, a fast-acting tonic of a movie.
  20. Such nourishing comedy. It satisfies every hunger, especially the irrational ones that seem to hit hardest at holidays: hunger for impetuous romance and for the reassuring warmth of family, for reckless abandon, and for knowing who we are and what we want. [16 Dec 1987]
    • Los Angeles Times
  21. A very fast three hours, Wolf is a fascinating, revolting, outlandish, uproarious, exhilarating and exhausting master work on immorality.
  22. Disturbing, disorienting, quietly terrifying, it's one of the least known of the world's great horror movies and, in its own dark way, a startlingly beautiful and artful piece of cinema as well.
  23. In short, Wonderland is an extraordinary film, as entertaining as it is observant, about ordinary people.
    • Los Angeles Times
  24. These despairing, ambiguous pieces are always emotionally unsettling, and that is due in part to Kieslowski's complete assurance as a director. His spare, minimal visual preferences dominate each episode. The camera work is fluid and precise, and the films are so rich they seem to be feature-length though they're not.
  25. A beautifully done adaptation of the novel, polished, elegant and completely cinematic. It is also a bit distant, a film that doesn't wear its feelings on its sleeve, but given the effects it's after, that would be counterproductive. [17 Sept 1993, Calendar, p.F-1]
    • Los Angeles Times
  26. Watching this film feels like a genesis moment — of sci-fi fable, of filmmaking, of performance — with all the ambiguity and excitement that implies.
  27. Of course, "It Happens One Night" comes to mind, but The Sure Thing is so sparkling and original in its humor, so perceptive about human nature in its own right, that its key elements seem classic, not carbons.
  28. By turns lyrical, impressionistic and profound, the documentary The Pearl Button requires patience but offers stirring rewards.
  29. Mills peppers his fresh script with an assortment of throwaway lines, kooky character beats and off-kilter emotional truths. That he packs so much memorable silliness into one 80-minute film is quite the feat. Sequel, please.
  30. It's hard to imagine many films surpassing or even equaling the effect of this supple, breathtakingly direct, small French film.

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