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 Spirited Away
Lowest review score: 0 Unfaithful
Score distribution:
639 movie reviews
  1. Captures David Bowie's meticulous identity quest with all the frenetic energy (read: slop) of a wildlife documentary on drugs.
  2. A beautifully acted, carefully written meditation on one woman's grief, the enigma of imagination, the persistence of desire and -- let's face it -- the power of denial.
  3. In the realm of B-movies about messing with nature, it's as enjoyable as "Frankenstein Unbound," and unlike, say, "A.I." it's intentionally creepy. It's also occasionally masterful.
    • New Times (L.A.)
  4. Has a lot to offer as grand entertainment, from surprising battle sequences (plenty of terror, virtually no gore, brief and tasteful digital enhancement) to fine performances.
    • New Times (L.A.)
  5. It's pretty safe to say that claustrophobic, gay-themed murder mysteries haven't been this much fun since "Deathtrap."
    • New Times (L.A.)
  6. Not only an exceptional thriller, but a transcendent summer movie: It assumes, for two hours, you've brain and heart enough to stick with a film that doesn't condescend, doesn't beat you up and doesn't dumb you to death.
    • New Times (L.A.)
  7. There's just no arguing with 12 centuries of flamenco, and, in this sensuous movie, no resisting it.
  8. In the end, leaves you feeling both violated and startlingly informed, as if a mugger had whacked you in a dark alley.
  9. In tampering with history, these storytellers present to us a rare and wonderful case of enlightenment beyond the accepted truth.
    • New Times (L.A.)
  10. Surprisingly manages never to grow boring -- which proves that Rohmer still has a sense of his audience.
  11. While you think you're watching just another in a series of British gangster films, you may suddenly realize that you're watching what is, thus far, the year's best horror movie.
    • New Times (L.A.)
  12. The story sustains a strong, hypnotic appeal well deserving of its many awards.
    • 66 Metascore
    • 80 Critic Score
    Ritchie's showmanship--half macho braggadocio, half emotion-tinged bravura--slaps and tickles the viewer into submission. He takes a group of not-so-goodfellas, whose idea of fun is setting farts afire, and, against all odds, makes them lively and engaging.
  13. Inventive and richly researched, it's worth admission just to see Der Führer bickering with Mick Fleetwood as a feisty Pablo Picasso.
  14. If there's any justice in moviedom, this summer's feel-good hit will be an unassuming Dutch comedy called Everybody's Famous!
    • 76 Metascore
    • 80 Critic Score
    It's a killing comedy for people who have learned to stop worrying and love their iden-tity crisis.
  15. The movie's essentially a series of high-speed, dizzying rocket chases that should keep the young'uns perfectly quiet.
  16. A happily self-aware body-count flick that's as brutally funny as it is plain-old brutal. A broad slash of scary, sci-fi fun, the project leapfrogs all the Scream and Last Summer junk to carve itself a new, high-tech niche.
    • New Times (L.A.)
  17. This is a highly original film blessed with fetching complications all its own and some hair-raising turns of plot.
  18. Though perhaps too mainstream for the art-house crowd and too foreign for the multiplex, Born Romantic is a natural crowd-pleaser, and deserves to be more successful than its limited engagement may permit it to be.
  19. There are a couple of technical rough spots, but this daring film challenges most widely held notions about religious conviction while providing a complex portrait of an identity crisis that's run amok and a good mind that's jumped the tracks.
  20. The sensitive art-house viewer should be warned: Though slow-moving at first, the film ends in explosions and violent death, with a level of sadism that will undoubtedly prove too intense for some viewers.
  21. On one level, Together is a countercultural soap opera, though played more as bittersweet comedy than as drama.
  22. Filmed by director Lorene Machado on direct video, it's a visually primitive affair. But you're not likely to care, given the chance to witness Cho's often incisive, but never hectoring, take on life as she's lived and observed it.
    • New Times (L.A.)
  23. The film proves unrelentingly grim -- and equally engrossing.
  24. The film is worth seeing for Sorvino alone. The actress hasn't been this good since Woody Allen's "Mighty Aphrodite," a role that couldn't be more dissimilar.
    • New Times (L.A.)
  25. I still think the first is the best in the series, but I'm in the minority: Number two has a stronger following among the legions of Hong Kong movie buffs.
  26. Quick-witted, spicy Irish comedy.
  27. This is a dark, often funny walk through Ingmar Bergman turf.
  28. As a gallery of the grotesque, however, the cinematic equivalent of a Joe Coleman painting or Adam Parfrey publication, The Salton Sea is a blast.

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