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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Amadeus
Lowest review score: 0 Rollerball
Score distribution:
639 movie reviews
  1. Pulsates with music, dance, color and laughter, but also glows with quiet moments of drama.
  2. Enormously appealing romantic comedy-drama.
    • New Times (L.A.)
  3. Despite the presence of several sublimely cracked actors and some of the most abrasive white-trash caricatures since "Raising Arizona," Birch totally owns this movie.
  4. Maybe Baby is Elton's stab at romantic comedy, and it's a strong feature debut, spiffy, quick-witted and more than a little shocking in its unflinching acknowledgement of English people having sex.
  5. Office Space's pleasures don't really depend on plot. It's pretty much what a Dilbert feature should look like.
  6. Ustaoglu has pulled off a rare feat in this film, enlightening us about a horrible situation while never losing sight of his central tale of friendship and loyalty.
  7. As stirring as it is slight, as effective as it is familiar.
  8. Sharp, smart and robustly engaging film.
    • New Times (L.A.)
  9. Smart, wry and awesome, all at once.
  10. The director is in fine form with The Closet, an expertly acted divertissement that may well be headed for a Yank incarnation within the next few years.
  11. The political, social, and linguistic adjustments Parker makes to this hugely entertaining Husband give it fresh relevance without betraying the original.
  12. Perhaps the most remarkable aspect of About a Boy is how substantial it plays -- as a feel-good film with weight, a knowing comedy with dramatic depth.
    • New Times (L.A.)
  13. Washington creates an indelibly charming and terrifying character whose volatile blend of dedication and horrible expediency keeps us off balance.
  14. Dench is wholly extraordinary in a characterization that is frequently muted, literally and necessarily.
  15. It's a pleasure to watch these two superb actresses circle and attack, conspire and conflict in the corporate shark tank, and it's just as profound a pleasure to behold a talented new filmmaker who's managed to succeed his first time out.
  16. We're told that this new version is tweaked and enhanced, with the E.T. puppet digitally smoothed out, and the guns in the meanies' hands removed (silly, but bravo). [2002 re-release]
    • New Times (L.A.)
  17. Offers both a gentle humor and a sly but unmistakable optimism about what life in Iran might one day be.
    • New Times (L.A.)
  18. Although frustratingly confusing -- often the viewer can't be sure who is on which side or why -- the film brims with physical grandeur, exquisite costumes, and a captivating performance by Blanchett.
  19. Beautifully shot and finely acted movie.
  20. A remarkable movie with an unsatisfying ending, which is just the point.
    • New Times (L.A.)
  21. It's basically your above-average nice drug movie.
  22. Manages to be both astoundingly derivative and reasonably entertaining at the same time.
  23. Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.
  24. This is not Tsui's best film by a substantial margin, but it's immense fun.
  25. Delivers a thoughtful what-if for the heart as well as the mind.
  26. As a document of rockin, youth rebellion, the film lodges perfectly between "American Graffiti" and "Trainspotting."
  27. It manages to be sentimental without seeming trashy.
    • New Times (L.A.)
  28. Perfectly acceptable, deliriously charming...a goofy Bmovie dolled up like a square-jawed A-list blockbuster.
  29. For all its mystery and its stylistic finesse, there is something vaguely plodding about The Sweet Hereafter.
  30. Despite a couple of low-budget, rookie-director rough spots, this fascinating look at Israel in ferment feels as immediate as the latest news footage from Gaza and, because of its heightened, well-shaped dramas, twice as powerful.

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