Los Angeles Times' Scores

For 7,180 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 3 Geezers!
Score distribution:
7,180 movie reviews
  1. If in Bresson's films nothing ever seems out of place or superfluous it's because he strove to find the essential truth of the image. Not an image or sound is wasted -- or offered up in self-glorification -- and from such seeming simplicity there arises a world of feeling.
  2. This is no sappy portrait of a saint: Mino is tenacious, critical and defensive, and in one memorable scene, a colleague tries to get her to face reality about what the real world holds for their students after graduation.
  3. Overflowing with life, rich with all the grand emotions and vital juices of existence, up to and including blood. And its deaths, like that of Hotspur in "Henry IV, Part I," continue to shock no matter how often we've watched them coming. [16 Mar 1997, Calendar, p.7]
  4. The film is a glittering triumph of personal expression at its most elegant and opulent.
  5. Seems every bit the masterpiece it was when first released by Paramount. In this dazzling film, Bertolucci manages to combine the bravura style of Fellini, the acute sense of period of Visconti and the fervent political commitment of Elio Petri -- and, better still, a lack of self-indulgence.
  6. As someone who was part of the Resistance, Melville knew enough to neither melodramatically glorify nor cynically devalue the heroism he presents. This is people doing what needed to be done, Army of Shadows says, this is the way it was.
  7. Beautifully crafted, movingly acted, still involving and entertaining, this is just the kind of film people are talking about when they say they don't make them like this anymore.
  8. With Pan's Labyrinth, Del Toro has made his most accomplished film to date, a dark and disturbing fairy tale for adults that's been thought out to the nth degree and resonates with the irresistible inevitability of a timeless myth.
  9. Beyond the timelessness of the story itself, the film is beautifully shot and though early in Godard’s career already showcased his ability to capture emotional intensity in the very way he frames the shots.
  10. One of the great crime thrillers, the benchmark all succeeding heist films have been measured against, it's no musty museum piece but a driving, compelling piece of work, redolent of the air of human frailty and fatalistic doom.
  11. This is a film with a commitment to reality unlike any we're used to seeing.
  12. This is impressive filmmaking, but it is not easy to take in.
  13. Director Wong is at his best in this rerelease of the 1991 film.
  14. Heartbreaking, haunting and unexpectedly heartening, First Cousin Once Removed is an uncommonly moving documentary portrait of a mind in disarray.
  15. 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.
  16. Gravity is out of this world. Words can do little to convey the visual astonishment this space opera creates. It is a film whose impact must be experienced in 3-D on a theatrical screen to be fully understood.
  17. Smartly written by Aaron Sorkin, directed to within an inch of its life by David Fincher and anchored by a perfectly pitched performance by Jesse Eisenberg, The Social Network is a barn-burner of a tale that unfolds at a splendid clip.
  18. It enables us to recapture exactly the delightful sensations felt all those years ago when we and the world were young and exciting together.
  19. One reason Boal makes such a potent combination with Bigelow is that her directing style moves us right along. She is so good with both action and creating a convincing look and feel for the film that the time it takes to get up to speed with the complicated plot does not feel like a problem.
  20. A Separation is totally foreign and achingly familiar. It's a thrilling domestic drama that offers acute insights into human motivations and behavior as well as a compelling look at what goes on behind a particular curtain that almost never gets raised.
  21. The films have only gotten better by letting the relationship marinate. "Midnight's" more disgruntled edge reflects what creeps up on couples as years pass, regrets stack up, kids factor in, real life intervenes.
  22. The Manchurian Candidate proves that its fascination is intact. [12 Jan 1998, p.C1; Re-Release]
  23. Prepare to be astonished by Spirited Away.
  24. Seeing E.T. again reminds us of how much we've remained the same, how gratified we still are by a film that connects so beautifully to our sense of wonder and joy.
  25. The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities. [14 Oct 1994]
  26. One of the strengths of Killer of Sheep, one of the reasons it has not dated, is that the naturalness and simplicity with which it unfolds give it the texture of a story told from the inside.
  27. Overwhelmingly tense, overflowing with crackling verisimilitude, it's both the film about the war in Iraq that we've been waiting for and the kind of unqualified triumph that's been long expected from director Kathryn Bigelow.
  28. Daring and traditional, groundbreaking and familiar, apocalyptic and sentimental, Wall-E gains strength from embracing contradictions that would destroy other films.
  29. Achieves its success through a combination of attitude and technique, uniting, to exceptional effect, a way of viewing the world morally while looking at it physically.
  30. From Here to Eternity remains, half a century later, a singular cinematic experience, one of the landmarks of American film.

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