Los Angeles Times' Scores

For 13,739 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 Prizzi's Honor
Lowest review score: 0 8MM
Score distribution:
13739 movie reviews
  1. Bit by bit, line by line, she [July] nudges you onto her characters’ wavelength, navigating their world with matter-of-fact drollery and tethering even her weirdest flights of fancy to clear, accessible emotions.
  2. Though as leisurely as a summer’s day, this kaleidoscopic memory film has an intensity of purpose that wants to knock you on your heels — or maybe harder — in its take on gentrification.
  3. Enola provides a richly fanciful, fresh perspective on the well-worn family name.
  4. You see in Felix the deadpan anarchic streak that has made Murray a force in American comedy for decades. At the same time, the actor seems to be winking at his own reputation for off-screen mischief — the tricks, stunts and pop-up bartending gigs that have made him a kind of one-man flash mob.
  5. While the result may be scattershot at times, the achievements of these badass professionals are worth a look — especially if, like this writer, you believe an Oscar category for stunt performers is long overdue.
  6. The point of DiMaria’s absorbing and passionate documentary is there was much more to his uncle than being one of the “others” in an infamous murder spree.
  7. Antebellum ultimately trips over its gimmicky plotting en route to a conclusion that rings false.
  8. What makes Durkin’s vision so powerfully unsettling is its ease with ambiguity, its ability to make cruelty and tenderness seem like flip sides of the same human coin.
  9. It’s a delight to see the director cut loose, along with his gifted behind-the-scenes collaborators (including production designer Helen Scott and costume designer Jacqueline Durran) and his captivating stars.
  10. The film makes an ardent case to stay ever-vigilant against the ongoing threat to the electoral process.
  11. The Eight Hundred fetishizes martyrdom, but for those seeking big-screen, epic violence, it’s pretty much the only game in town.
  12. The genre elements are nicely balanced by the adult drama embodied in the lead quartet’s performances, especially Rapace’s turn that is part femme fatale, part damaged soul.
  13. Director Miranda de Pencier and writers Graham Yost and Moira Walley-Beckett haven’t dodged hard sociological truths lurking beneath the gentle humor, engaging performances and stirringly photographed tundra, lending The Grizzlies a decisive, transformative edge.
  14. You can reject the conclusions of Campos’ movie, particularly its unrelenting pileup of dead bodies, and still take pleasure in its atmospheric surface — in the persuasiveness of its small-town environs (shot on 35-millimeter film by the gifted cinematographer Lol Crawley) and the vigor of its performances. He may not persuade you all the time, but the devil is very much in those details.
  15. Without suppressing her natural instincts as a performer — including a gift for spitfire comedy that occasionally rears its head — [McDormand] whispers rather than declaims and illuminates more from within than without. It’s one of her greatest performances.
  16. Ronan and Winslet are beautifully matched, and their characters’ initially combative dynamic makes their eventual surrender all the more moving.
  17. An arresting if somewhat wayward documentary.
  18. A smart and absorbing new French comedy that initially unfolds like a series of psychotherapy sessions and eventually brings its story to a suitably mythic climax not far from a sputtering volcano.
  19. Jeff Orlowski’s The Social Dilemma may be the most important documentary you see this year.
  20. Society’s rampant sexualization of preadolescent girls is one topic that Doucouré subjects to tough critical scrutiny; she’s made an empathetic and analytical movie, not an exploitative one.
  21. You are advised to pay close visual attention, especially to Robert Frazen’s pinpoint editing and Melissa Toth’s subtly shifting costumes, even as you lean in to catch every word of Kaufman’s torrential dialogue and each detail of the mercurial, tinnitus-evoking sound design.
  22. One of the movie’s persistent problems is that it often seems to be nothing but lessons — most of them bluntly spelled out, swiftly absorbed and almost automatically rewarded, in ways that short-circuit tension and emotion.
    • 43 Metascore
    • 60 Critic Score
    Boone’s film does demonstrate that there are different ways to approach these franchises outside of the binary of lighthearted/fun and dark/gritty movies that permeate the superhero genre.
  23. The feature debut of music video director Ninian Doff is probably best viewed late at night under the influence of a mind-altering, preferably hallucinatory, substance.
  24. It’s both an overstuffed box of postmodern delights and a classically Dickensian repository of whimsy and charm.
  25. The story is simple but what makes the film remarkable is how Haley effortlessly, earnestly marshals performance, tone and style.
  26. For anyone missing this summer’s Tokyo Olympics, postponed to March, Rising Phoenix is a fitting bridge for one night, resoundingly demonstrating that an athlete is an athlete. You will never watch the games in the same way.
  27. In a pandemic, some might call the film a beacon of hope; others might prefer science to prayer for salvation. As a piece of cinema, though, Fatima is unlikely to be canonized.
  28. Wilmott’s affecting historical drama “The 24th,” inspired by the Houston riot of 1917, bears both the weight of that history and the filmmaker’s passion for the subject matter.
  29. It takes some big swings at a big subject and almost — not quite — pulls it off.

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