Los Angeles Times' Scores

For 14,959 reviews, this publication has graded:
  • 56% higher than the average critic
  • 7% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Early Summer
Lowest review score: 0 Saw VI
Score distribution:
14959 movie reviews
  1. Rise scores as first-rate family filmmaking and a worthy reminder that some dreams can and do come true — big time.
  2. The disappointing western-mystery hybrid Murder at Yellowstone City strands an excellent cast in a slow-paced story with a muted tone, too far removed from its pulpy inspirations.
  3. Between its lovely Hawaii setting, its well-chosen indie-pop soundtrack and its earnest belief in the life-changing power of a great song, Press Play is pretty pleasant. It’s soft and breezy — the cinematic equivalent of yacht rock.
  4. The filmmakers get more tension and even emotion out of this premise than most movies of this type do, mainly by treating the characters as multidimensional people who deserve a shot at redemption, and not like voodoo dolls ripe for the poking.
  5. It presents some thoughtful perspectives, both from the dedicated litigator and a community conditioned to expect disappointment from the criminal justice system — and a last chance at fairness in the civil courts.
  6. A vivid portrait of the human cost for malfeasance and authoritarianism.
  7. Though the movie rockets Judge’s doltish heroes into the future, it feels like a charming artifact from the past.
  8. Thames delivers a searingly authentic performance as the young Finney, and when he’s all alone in the basement with ghosts, “The Black Phone” is at its best: suspenseful, emotional and filled with jump scares.
  9. Director Patrick Hughes’ film should be avoided at all cost.
  10. To complain that “Elvis” is basically a compilation of musical-biopic conventions is a bit like complaining about a greatest-hits album; it also misses one of Luhrmann’s strengths as a filmmaker, which is his ability to suffuse clichés with sincerity, energy and feeling.
  11. Even if one considers Apples part of the so-called Greek Weird Wave, such a subtly thoughtful and soothing approach to probe at existential concerns, rather than being predictably cynical or violent, makes it stand out.
  12. Like those early shorts, then, Marcel the Shell With Shoes On is essentially a mockumentary, though one with a far more complex visual scheme and a more ambitious tonal range.
  13. If this is satire, it’s satire so generously attentive toward its targets that mockery and love become virtually indistinguishable.
  14. Official Competition is a coy satire that makes welcome use of biting meta-commentary and self-reflexive critique.
  15. A lollapalooza of a twist ending elevates Isolated, a suspense film that for much of its first 75 minutes is just another well-acted, slickly produced variation on a too-common horror subgenre.
  16. The Wrath of God is often too clever about teasing out its mysteries. But it has a strong and challenging theme, asking whether its characters’ misfortunes are their own fault, or just a case of the Almighty playing capricious games with humanity.
  17. There’s way more plot to this “Father of the Bride” than necessary. But the unique cultural details add fresh flavor; and the big emotional buttons at the movie’s end are as effective as ever. Like a wedding itself, all the stress and irritation pays off in a pleasant way to spend a couple of hours.
  18. Halftime is no warts-and-all exposé. It’s an unapologetically pro-Lopez project, revealing only what the star wants her fans and skeptics to know about how she’s dealt with her many career disappointments. But Lopez has been such a powerful cultural presence that she’s earned this kind of tribute.
  19. The word “visionary” gets tossed around too much, but there’s really no better way to describe the spectacularly bleak animated science-fiction film Mad God or its creator, Phil Tippett.
  20. An intelligent, sometimes moving, sometimes funny sci-fi examination of emotional autonomy amid futuristic pharmaceuticals, until an awkward shift into thriller territory dilutes its purity.
  21. Hyde stages it all with an unfussy elegance that serves the material, and any lingering creakiness is dispelled by Thompson and McCormack, who always seem to be playing people rather than ideological mouthpieces.
  22. As the movie dances right up to the conventions of this well-worn genre, then deftly slides (To the left! To the right!) to avoid them, you might just find yourself clapping along in spite of it all being terminally uncool. Uncool can be a lot of fun.
  23. Even as the low-key mockumentary Brian and Charles impressively scales down a sci-fi concept to fable size, it neither does much to maintain its oddness nor finds that right mix of comedy and pathos to have much impact.
  24. Jerry & Marge Go Large is a charmer. It’s a low-key, fact-based caper movie that overcomes some broad comedy leanings to settle into the sweet stuff in the soft center. It’s bolstered by a funny script and dependably sharp performances by Bryan Cranston and Annette Bening.
  25. Don’t go into the immersive, observational documentary “Bitterbrush” looking for profound insights or roiling conflict but rather a captivating and meditative look at two intrepid young women surviving — and seasonally thriving — in a traditionally male-dominated field: cattle herding.
  26. It’s a film of modest charms and secondhand pleasures, enough to help pass a summer afternoon, if not to quell the sense that it was made for less-than-creative reasons.
  27. On the whole, this is an entertaining movie with admirable intentions, pushing the audience to rethink their presumptions about pleasure.
  28. Though it doesn’t quite come together, Keeping Company is never pat or predictable.
  29. The film’s exploration of crime-fighting’s gray areas is familiar; but strong performances, some stylistic flair and a matter-of-fact tone give The Policeman’s Lineage the ring of truth.
  30. The dialogue is blunt, and the plot overly centers white heroism; but the period detail is well-observed, and the filmmakers show a real understanding of the ingrained attitudes and anxieties that make moments of social progress so difficult.

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