Los Angeles Times' Scores

For 9,606 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 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 The Remake
Score distribution:
9606 movie reviews
  1. Never loses its priceless stamp of individuality. Reduced to its essence, this is a joke told by a person, not a corporation--and that makes all the difference.
  2. “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.
  3. The gift of The King's Speech is that it allows us to look on as a pair of masterful actors re-create a monumental test of wills.
  4. That Hell or High Water makes you empathize with and understand (though not excuse) each member of this disparate quartet is a tribute to the way Taylor Sheridan’s screenplay works equally well as a thriller, character study and pointed social commentary.
  5. Up
    Rarely has any film, let alone an animated one powered by the logic of dream and fantasy, been able to move so successfully -- and so effortlessly -- through so many different kinds of cinematic territory.
  6. A graceful, affectionate yet clear-eyed portrait of daily Middle America small-town life in which no individuals are interviewed but instead are observed with detachment as they go about their lives.
  7. As a strictly psychological portrait of destructive masculinity it's a gut-sock, vividly photographed, thrillingly edited and marked by performances (Donald Pleasence and Jack Thompson, most notably) that heave with strange complexity and dark camaraderie.Wake in Fright is true horror.
  8. It's a fitting tribute to the influential journalist-essayist-filmmaker: insightful about the life of a successful writer, engaging about how a smart modern woman navigated the world, but also quizzical about how Ephron was as a daughter, sister, wife and mother.
  9. Toy Story 2 may not have the most original title, but everything else about it is, well, mint in the box.
  10. The director's surrealist portrait of modern times and the cult of celebrity is brilliant on so many levels that even the occasional downdraft can't keep Birdman from soaring.
  11. Beguiling but long-winded.
  12. You feel protective about Leigh's work because its almost indescribable virtues touch the heart, yet far from being some delicate flower, Life Is Sweet has the wild, brazen, anything-goes energy of a 2-year-old, willing to take chances that would freeze the blood of another, more timidly conventional film.
  13. The Belgian directing brothers deal with themes they have made their own: the difficulty of being moral in an amoral world and the grinding, unforgiving nature of reality for those forced by poverty to live on the margins of society. These are not easy films to experience, but they are uncompromising and unforgettable.
  14. It's heartbreaking stuff, and Newtown handles it all with a gentle grace.
  15. Armstrong, screenplay adapter/co-producer Robin Swicord and their colleagues have got everything just right. [23 Dec 1994]
    • Los Angeles Times
  16. Daring in the ways only quiet, unhurried but finally haunting films have the courage to be. A character study of remarkable subtlety joined to a carefully worked-out plot that fearlessly explores big issues like beauty, truth and mortality, it marks the further emergence of Korean writer-director Lee Chang-dong.
  17. One of those entertaining confections that's so pleasing to the eye and ear you'd have to be a genuine Scrooge to struggle against it.
  18. The Missing Picture is personal and unexpected, a documentary that mixes media in an unusual way to very potent effect.
  19. Some might well accuse this stubbornly singular woman of living in the past, but to watch Aquarius is to see her surrendering again and again to the bliss of the present moment — never more so than in a final scene of thrilling, annihilating ferocity.
  20. The access that Bécue-Renard got, reportedly after five months of being there without a camera, is remarkable.
  21. The fingerprints of the Camorra are everywhere, this film wants us to know, and its grip is lethal.
  22. Part of what makes a great documentary great is the subject, and though the film never scrapes below the surface of the schoolteacher -- we never find out if he lives alone or has children of his own -- Lopez pulls as hard on the imagination as a fictional character.
  23. A godsend for audiences who hunger for rich emotion presented with wit, grace and not a trace of sentimentality, Brooklyn illustrates the power of restraint in dealing with poignant, impassioned material.
  24. It was this ineffably poignant semiautobiographical reverie that unleashed fully Fellini's shimmering, flowing poetic style, echoed perfectly in a plaintive score by Fellini's potently evocative collaborator, Nino Rota.
  25. What Fire at Sea appears to be and what it is are not the same thing, and it's that difference that makes it a masterful documentary.
  26. Emotional intensity is Farhadi's métier, and to see About Elly is to revel in his skill.
  27. It humanely, intelligently questions the very nature of our desire to make sense of the past with the tools of the present, when the human mind remains the most aggressively obliterating battlefield of all.
  28. For most of the way, One False Move is taut and sure-footed.
  29. Moodysson captures that moment — charged, goofy and transcendent — when personal style and wide-ranging outrage fuse in an all-encompassing manifesto.
  30. Most of all, Wallace & Gromit retains the clever, one-of-a-kind sensibility that made its shorter predecessors so delightful. With every studio comedy looking for a formula for success, it's refreshing to find a heroically whimsical film that succeeds by following no formula known to dog or man.

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