Los Angeles Times' Scores

For 9,378 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 Half Nelson
Lowest review score: 0 Christmas Eve
Score distribution:
9378 movie reviews
  1. While Dreamcatcher lays bare some of the horrific violence and victimization that many women face, the film is ultimately hopeful, a testament to the strength and resilience that can be found in sisterhood.
  2. The most accurate assault against the media age since "Network," To Die For's killer lines and wicked sensibility are given added poignancy by the off-center, sensitive performance of Joaquin Phoenix, River's younger brother, the only person more deluded about Suzanne than she is about herself.
  3. In ways both subtle and overt, the movie continually draws our attention to the human consciousness guiding every shot, the hand that is gently yet unmistakably manipulating the image.
  4. A film of warmth, insight, humor and surprising originality… [It] isn't perfect, but when it's good, which is every moment John Cusack is on screen, it's a living joy. And when it's not-so-good--earthbound and not inventive enough--it s till almost single-handedly redeems the breed. [14 April 1989]
    • Los Angeles Times
  5. Time is truly on Apted's side because the passing of time not surprisingly brings a richer, deeper perspective with each new segment.
  6. Too mannered and weird around the edges to be convincing.
  7. You can't have Rushmore without Max, and though Anderson obviously planned it this way, the kid is finally too off-putting to tolerate.
  8. Perhaps the director's most touching, most elegiac work yet, Million Dollar Baby is a film that does both the expected and the unexpected, that has the nerve and the will to be as pitiless as it is sentimental.
  9. The film is quite serious about pushing its players and its audiences through the mental, as well as emotional, meat grinder. Many times along the way, you fear you know where things are going. But Kent is clever in choosing unexpected spots to pull the rug out from under you.
  10. These stranger-than-fiction tales, piled one on top of the other in the most gripping way, not only mesmerize us, they also point up another of Last Days in Vietnam's provocative points, that the chaos surrounding the evacuation was, in effect, the entire war in microcosm.
  11. Ira Sachs’ beautifully observed Little Men zeros in on teen-spirit qualities that might, by conventional standards, be considered less cinematic: creativity and innocence, a tender spark brought to life by terrific newcomers Theo Taplitz and Michael Barbieri.
  12. Witty, urbane and thoroughly entertaining.
  13. An exceptional--and exceptionally disturbing--film from a first-time director and writer (with Andy Bienen) named Kimberly Pierce. Unflinching, uncompromising, made with complete conviction and rare skill.
  14. To think of a film this assured, this unified and this dizzyingly potent, you have to go back to "Blue Velvet." [22 Sept 1988]
    • Los Angeles Times
  15. Observational with a vengeance, more an art piece than a conventional motion picture, Manakamana is simple in conception, but the reactions it evokes in viewers will be complex and multifaceted.
  16. It's a privilege and a pleasure to be present in a sacred space where the human and the mystical effortlessly intertwine, and we are in Werner Herzog's debt for that great gift.
  17. The latest in a recent spate of AIDS-themed documentaries, How to Survive a Plague is an exceptional portrait of a community in crisis and the focused fury of its response.
  18. By far the most approachable of the director's recent films, with an emotional depth that's true to life and a streamlined narrative that for long stretches barely contains a word.
  19. With performances that will raise the hairs on the back of your head, it's a film that knows the private geography of love, grief and obsession.
  20. Ten
    One of the best films to open so far this year, but greeting each new work from a favored director as if it were equally brilliant can't be good for anyone, the director included.
  21. It's one terrific film, as smart, thoughtful and emotionally involving as just about anything that's out there.
  22. A thrilling adventure of the spirit. Austere yet provocative, this is not only a film about faith, it also has faith that the power generated by complex moral decisions can be as unstoppable as any runaway locomotive.
  23. A lovely bit of memory and mischief.
  24. The most convincing war movie ever made.
    • Los Angeles Times
  25. It's big, cartoonish and empty, with an interesting premise that is underdeveloped and overproduced. [3 July 1985, p.Calendar 6]
    • Los Angeles Times
  26. To has a great mastery of timing; he knows just how long to let a look linger before cutting away, how little he can reveal without losing us. The director keeps you guessing until the very end whether Choi or Zhang, or someone else entirely, will be the last man standing.
  27. As its name promises, The Great Beauty is drop-dead gorgeous, a film that is luxuriously, seductively, stunningly cinematic. But more than intoxicating imagery is on director Paolo Sorrentino's mind, a lot more.
  28. Affleck easily orchestrates this complex film with 120 speaking parts as it moves from inside-the-Beltway espionage thriller to inside Hollywood dark comedy to gripping international hostage drama, all without missing a step.
  29. Diamond-hard and mesmerizing… Bening and Cusack are perfection at what they are doing, she twinkly as any rhinestone, he dangerously passive; it's hardly their fault that Huston is the motor of the piece and so ferociously seductive that one cannot look away from her. [5 Dec 1990]
    • Los Angeles Times
  30. Requires careful attention at its abrupt finish. Close concentration on the final shots yields a meaning not possible should a viewer's attention wander or turn away a few moments too soon.

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