Los Angeles Times' Scores

For 9,670 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Hoop Dreams
Lowest review score: 0 What Love Is
Score distribution:
9670 movie reviews
  1. The structure, sliding between memories evoked by objects in the house and the common difficulties of moving day, should play with more elegance than it does. Instead, it feels awkward and frequently - as does the film on the whole - too on the nose, too obvious.
  2. To watch the film is to marvel at the cast's virtuosity at fleshing out the shallowest people in England, and the observable intelligence and talent of all those involved doesn't make Separate Lies any more compelling, or its characters more resonant.
  3. When faced as a director with the rudderless screenplay he (Jonze) co-wrote with Eggers, he's been powerless to energize it in any involving way. Sometimes you are better off with 10 sentences than tens of millions of dollars, and this is one of those times.
  4. This journey into "Martha Marcy May Marlene" territory is never as tense and gripping as it should be, the incidents and most of the performances too tamped-down to spark a much-needed sense of animating friction.
  5. Ross' missive is earnest and well-intentioned, but it's difficult not to feel that his film both runs on too long and overreaches its dramatic resources in its attempt to deliver it.
  6. The cumulative effect is more that of a handsomely crafted museum piece than a moving, emotional journey.
  7. The rest is an adrenaline ride, but one more wearying than eye-opening.
  8. Despite the linked advantages of generous helpings of the man's high octane music and a star performance by Chadwick Boseman that's little short of heroic, Get on Up is more frustrating than fulfilling, a disjointed film that suffers from having a more ambitious plan than it's got the ability to execute.
  9. "Breakdown" gets the music right and has the benefit of strong acting, but its unapologetically melodramatic plot has a tendency to throw everything at you but the kitchen sink.
  10. While Our Last Tango is a little schematic overall, from moment to moment, it's beautifully choreographed.
  11. Could have taken a more relevant, insightful and even funnier cut at a very rich topic. But the filmmakers didn't; they went with dog poo instead.
  12. Dances on the edge of flat-lining just like the DOAs that are Frank's stock-in-trade.
  13. To transcend cliché, movies like Narc need the passion of a heretic who can take stock characters with their stock predicaments and turn them inside out, the way Curtis Hanson and Quentin Tarantino do. Blood, guts and flash aren't enough.
    • 70 Metascore
    • 60 Critic Score
    King Corn is entertaining enough, but it's also a moral, crucially skeptical road trip down the food chain.
  14. Bardem's performance is so good it tends to mask how lacking much of what surrounds it is.
  15. Though the plot here may be a confusing, multi-threaded mess (which may in fact be the script’s truest homage to Chandler), it’s occasionally offset by the exuberance with which Black blends splatter and slapstick, and the leeway he grants his two very game leads.
  16. As enervating as it is long -- and at 2 hours and 47 minutes it is quite long -- this version of the F. Scott Fitzgerald fantasy short story is a baffling project, an endurance test of a movie that feels like it was made on a dare.
  17. Producer-director Markus Imhoof tackles a hugely vital subject, but the film's loose structure and lack of a specific through-line don't make for the clearest intake of its, well, swarm of information.
  18. There’s much to admire about this alternately tough and tender film, including a fine turn by Caton, some striking outback scenery, and many resonant thoughts about living — and dying.
  19. The AIDS scare remains as much window dressing as do other period details such as rotary phones and cassette tapes. Test seems to be about dance above all, with choreographed montages filling the bulk of its running time.
  20. What emerges is a vague, often chilling impression of an unpredictable opportunist and provocateur who may not even be sure himself.
  21. It's a product of the highest quality, but at the end of the day that's what it is: a machine-made, assembly-line product whose strengths tend to feel like items checked off a master list rather than being the result of any kind of individual creative touch.
  22. Belladonna of Sadness is an interesting curiosity from the early days of modern anime, but material that may have seemed daring and adult in the era of Disney's “Robin Hood” and “Snoopy, Come Home” looks exploitative and misogynistic 43 years later.
  23. This is the biggest surprise of all -- it's hard to watch Going Upriver without wondering, frankly, what became of the young John Kerry, who comes off so exceptionally well in this film.
  24. It's just that there isn't enough story - the book shouldn't be required reading for the film to make sense.
  25. For all of its punishing pathos, the movie does not have the clean lines and elegance of another cut at crime in this city, "L.A. Confidential" (based on an Ellroy novel). As the day of reckoning approaches, the film spins out of control, careening between convoluted subplots, with the emotional pitch of the piece swinging too wildly.
  26. Laguionie's animation is a lovely jumble of thick lines and saturated pastels...But while the artist-as-deity concept was flattering enough to get The Painting nominated for a 2012 Cesar Award, its big ideas about equality and friendship are flatly 2-D.
  27. This is a conventional, well-acted, English working-class drama in the familiar realist style, but it does not attain anywhere near the level of artistry and imagination of a Ken Loach film.
  28. As a grand flourish of cinematic technique, it is awesome; as a human drama, it is disgusting and silly, a mindless depiction of carnage on an epic scale. [15 July 1988, Calendar, p.6-1]
    • Los Angeles Times
  29. The film is as lacking in polish and structure as its subject's canvases, which makes it an appropriate tribute to a marginal figure whose dreams of art world and/or Hollywood stardom stubbornly remain "almost there."

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