New Times (L.A.)'s Scores

  • Movies
For 639 reviews, this publication has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Man Who Wasn't There
Lowest review score: 0 Glitter
Score distribution:
639 movie reviews
  1. It succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides. That might not make it a milestone, but it's a hell of an improvement.
  2. Fans of convoluted narrative in the manner of Christopher Nolan and David Lynch are likely to be intrigued, although Medem has a far stronger streak of sentiment.
    • New Times (L.A.)
  3. Thoughtful and somewhat languid adaptation of Anton Chekhov's 1904 play finds its beauty in the heady performance of Charlotte Rampling.
    • New Times (L.A.)
  4. You'll feel fatigued watching it, but more out of empathy than boredom.
  5. The cornerstone of this fascinating film is a peculiar but absolutely solid love story. In terms of intellectual and emotional stimulation, who could ask for more?
  6. Combines strong feminist sensibilities with surprisingly old-fashioned melodrama.
  7. From the start, a comprehensible, if necessarily simplified, sense of an extremely complicated moment in history.
    • New Times (L.A.)
  8. Arteta targets Middle American ennui with wit, compassion and no shortage of ornery malaise.
  9. Swept Israel's version of the Oscars two years ago, and though it won't do as well here, it's an accomplished debut with heart, war and sex. In the age of paranoia, it just might be the perfect date movie.
    • New Times (L.A.)
  10. A visionary breakthrough for the young directors, a darkly alluring and largely successful attempt to crowd the territory of Roman Polanski and Dario Argento.
  11. It's light fantasy, but lovely and astute.
    • New Times (L.A.)
  12. The plot may be nothing, but the film is something indeed.
  13. If you like being scared, you should have fun. Bring a date to hold hands with.
  14. Huppert has never looked more beautiful. Despite her severe expression and lack of makeup, her face communicates enormous character. She proves absolutely spellbinding.
    • New Times (L.A.)
  15. Scorsese's rockudrama withstands big-screen scrutiny some 24 years after its initial release.
  16. The pleasure is in watching veteran star Bouquet and the versatile Berling go at it -- they even seem to look alike.
  17. A subtle mood piece in which a man's collapse is examined so rigorously that one almost hopes for a murder to come along and break the tension.
    • New Times (L.A.)
  18. Thoroughly entertaining Home Movie carries on a grand tradition of American documentary -- seeking out the eccentrics and contrarians among us.
  19. Audiard keeps things shaky, grim, claustrophobic, doomed. His film has the feel of documentary, as he follows Clara through the daily grind that pulverizes her. We're in her head, literally.
  20. An extraordinary film from a born filmmaker.
  21. Roll with any stylistic difficulties you might initially have, and prepare to be awed.
  22. Dramatically effective, thanks in large part to Montand's impassioned performance.
  23. It's a bewildering but deeply satisfying paradox, this constant, nearly silent collision in Tran's films of the visible world and the turbulent, unseen world.
  24. This nicely acted study of a love that survived all manner of trauma is a must-see for Joyce fans, feminist historians great and small and admirers of the Emerald Isle.
  25. Wisely, Run Lola Run lasts something under 80 minutes; any longer, and it would have been as exhausting and boring as a half-hour Donna Summer track.
  26. En route, we also get a chance to examine the nature of the self and the responsibilities of science. Das Experiment has all this and more, excitingly packaged as a prison movie featuring superb performances and high emotional tension.
  27. Not only is Undercover Brother the funniest spy-thriller since "The Nude Bomb" (oh, behave), it feels like the proper sequel to "The Blues Brothers," crossing all kinds of lines between cartoonish buffoonery and genuine compassion for its characters.
    • New Times (L.A.)
  28. This nearly perfect confection never takes its action more seriously than its comedy.
    • New Times (L.A.)
  29. Signs blessedly displays a sense of giddy dark humor absent from Shyamalan's previous outings. It appears for much of the film he's merely having fun with the genre, goofing on its paranoid roots.
    • New Times (L.A.)
  30. In elevating bawdy teen farce to political metaphor without squeezing the fun out, Alfonso Cuarón has pulled off a nice little miracle.
    • New Times (L.A.)

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