Los Angeles Times' Scores

For 14,526 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Act of Killing
Lowest review score: 0 Lady Beware
Score distribution:
14526 movie reviews
  1. "Mustangs,” which was shot in California, Wyoming, Texas, Colorado and elsewhere, is a lovely, essential portrait that’s also a little dull. It sometimes feels more like a promotional film than penetrating documentary.
  2. For an adoptee, the notion of “family” is so much more complicated and layered than it might be for someone else, but what Found powerfully argues is that within these many layers, there is an abundance of a unique kind of love, and understanding, to be found. You just have to look for it.
  3. She may have a terrible co-star inside trying to upstage her, but with humor, strength and messy honesty, Blair makes a memorable case for why her show must go on.
  4. Odom, surely one of the busiest actors working today, gives a committed performance but lacks chemistry with either of his onscreen wives. A sense of lightness, of fun, of the alchemy between two people is missing, though it would seem crucial to drive the story.
  5. A poignant, sometimes piercing triptych of tales, each one predicated on chance encounters and romantic possibilities (the original Japanese title translates as “Coincidence and Imagination”), it finds Hamaguchi in playful, beguiling and quietly affecting form.
  6. In gaming terms, this movie’s characters find themselves on a screen where every move leads to a bottomless pit. The nightmare they’re in is as existential as it is visceral.
  7. The spiritual truth of Haynes’ spellbinding The Velvet Underground is that ultimately it’s about the thing that can’t be described, that defies parsing when gifted outcasts make great art — it’s to be experienced.
  8. Hard Luck Love Song is a happy but gritty marriage of material, filmmaker and star. Much is asked of Dorman, and he delivers all.
  9. A willingness to subvert expectations is one reason this ungainly, ingenious and altogether fascinating collaboration works as well as it does.
  10. Through her unfussy direction and sly editing, Kingdon’s collection of vignettes is a reminder that the destructively frenzied cycle of consumption and waste always trickles down.
  11. It’s a different register for Rapace, who remains controlled, with a few explosions of emotion. But she is present and instinctual, imbuing Maria with a steely but soft power: decisive, persuasive and feminine.
  12. The Rescue is a gripping, unsurprisingly moving early account, one that emphasizes the pluck and ingenuity of its heroes and the resilience and beauty of its survivors. To say that it feels necessarily incomplete is to acknowledge the extraordinary and extraordinarily multifaceted story it has to tell.
  13. When “Convergence” feels rushed for trying to squeeze in a global snapshot, its impact is diluted.
  14. Elegantly intoxicating in its atmospheric construction, “Fever Dream” maintains its incantation to its very final twist. Even as clues inch us closer to a logical explanation for the collective malaise, the mystical undercurrent Llosa sets in place fosters our doubt.
  15. Despite many fine moments and a valuable story to tell, “Golden Voices,” directed by Evgeny Ruman, feels like a missed opportunity.
  16. What fascinates the director, and clearly also fascinates his four outstanding lead actors, is the possibility of grace in a seemingly impossible, inconsolable situation. With considerable intelligence and disarming moral seriousness, they confront the question of whether forgiveness and understanding can be honestly extended or received, and whether healing can ever be more than an abstract concept.
  17. Leo and María — and, judging from their on-screen rapport, Amalia and Ale as well — spin on a wavelength where their irrational lifestyle and coping mechanisms are logical to their comprehension; we are only lucky to be invited to visit this two-people planet for a short while.
  18. From a purely technical viewpoint, Lorentzen’s one-side-only methodology makes Seyran Ateş: Sex, Revolution and Islam a lopsided viewing experience, one that seems tailor made for viewers predisposed to agreeing with Ateş’s critical opinions on Muslims, and no one else.
  19. Titane is nothing if not a triumph of engineering, to the point where the slickness and sophistication of its technique sometimes threaten to overwhelm the rigor of its ideas. Still, it’s hard not to admire the sheer verve with which Ducournau ultimately welds those ideas together.
  20. Ponciroli shows natural flair for holstered and unholstered suspense (if not always story logic), plus he’s got a worthy partner in the muted exteriors and sparsely lit interiors of John Matysiak’s cinematography, and a cast that dutifully plays along with every stare-down and line of colorfully poetic cowboy dialogue.
  21. The Many Saints of Newark might have played better as a limited series rather than a truncated self-contained production, with the potential for a deeper story to unfold over several impending episodes.
  22. The parts of Coming Home in the Dark about confronting guilt aren’t what make the movie so harrowing. Instead, what matters is that Ashcroft and his cast — and especially Gillies as the menacing and charismatic Mandrake — excel at drawing out the moment-to-moment tension of a crime in progress.
  23. It’s not the promised spectacle that cements Venom: Let There Be Carnage as touching, wild entertainment. It’s the themes of home, love, and companionship that make Serkis’ sequel another reason to want more “Venom” movies, and quickly.
  24. The movie is also notable for featuring not just one but two unconvincing romantic dynamics.
  25. Craig reveals himself as perhaps the most generous actor to have inhabited the role. And not only toward the rest of the cast, but toward the very idea of Bond itself. Craig sets Bond free from the prison of forgetfulness that has previously trapped him like a caveman in ice, though the price is steep, and it remains to be seen if future installments can continue to pay it.
  26. The result is a cinematic curio in search of a more conclusive theme and emotional payoff.
  27. Seth’s cinematography is stunning, meeting the mood of each contrasting moment but set within a cohesive look that gives the film a dreamy, unreal quality.
  28. Perhaps the highest praise we can lavish on Fuqua’s solid, enjoyable, easily watchable remake, is that beyond the addition of Gyllenhaal, it doesn’t try to fix anything that wasn’t broken in the first place.
  29. After a while all the tasteful images of undulating waves and pulsating jellyfish can’t help but underscore the inescapable naval-gazing that goes with the territory.
  30. Special kudos go to Martin Ziaran’s innovative, at times vertiginous and even upside-down camerawork, which lends a you-are-there feel to the film’s already viscerally unnerving action. It’s a master class in cinematography.

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