Los Angeles Times' Scores

For 15,297 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 Sunrise
Lowest review score: 0 Saw VI
Score distribution:
15297 movie reviews
  1. Guzzoni’s directorial hand chooses to move with restraint where others would exploit the despair on display for melodramatic manipulation. His focus is on the moral grays.
  2. The film hits its stride about halfway through its running time before sputtering down the stretch. But for the most part it’s pretty snappy.
  3. As Leonor Will Never Die parties to its close, Escobar reminds us that while life is unerringly finite, cinema is the complicated, messy, riotous love affair that never has to end.
  4. This is a movie that could probably have done with less chronological vérité or media moments and more wide-ranging interviews drawing out observations from Prakash, Gunn-Wright, Rojas and AOC, because whenever we do get to hear them, we can see how smart, interesting and perceptive they are, and why they’re needed for the challenges ahead.
  5. While Colman peels back Hilary’s layers of grief and rage with all the ferocity and subtlety you’d expect from an actor of her caliber, even she can’t sell the joyfully beaming pivot required of her in an interminable sequence in which Empire of Light essentially becomes the ’80s equivalent of Nicole Kidman’s AMC commercial.
  6. EO
    In EO, the camera doesn’t just follow the story or record the action. Its restless, exploratory movements express a kind of shared consciousness, a spirit of communion among different members of the animal world, whether they’re running together in a field or sharing the same tight enclosure. It’s the grace of this movie to extend that communion to the human beings who pass in front of the camera, and whose fates are tightly bound up with EO’s, whether they realize it or not.
  7. Rare archival footage is intertwined among the film’s historical narrative with an all-too-rare grace — the images we see here lend themselves to a deep and nuanced understanding of Lowndes County at the time; not just the shared, communal efforts but the mapping of both community and anti-Blackness as it materialized through the everyday.
  8. The result is amusing enough, but it’s as cinematically substantive as a sugar cookie.
  9. A staggering masterwork that reveals itself unhurriedly, one permutation at a time, Chou’s third feature is perhaps the only film this year in which every single scene and every line of dialogue within them feel absolutely indispensable. The richness in every detail, and their unexpected ramifications over time, make for a one-of-a-kind character study.
  10. As crafted by Bahrani, this fascinating portrait of a hero/villain who comes across as both affable and unpleasant, often simultaneously, is a Greek tragedy and a Shakespearean comedy with a touch of “Tiger King” all expertly rolled into one all-too-pertinent cautionary tale.
  11. If you’ve ever doubted how art, rage or action can make meaningful change, Goldin’s combination of all three fighting an opioid crisis that nearly killed her is exhilarating proof of the power of “screaming in the streets,” to borrow what the queer artist David Wojnarowicz — one of many close friends of Goldin’s whom the AIDS epidemic took — wryly described as a necessary ritual of the living in a time of too much death.
  12. The result is both a study in historical amnesia and a kind of epistemological detective story, in which the grim truth is as hard to refute as it is hard to prove.
  13. Too much of the film (an official selection at 2020’s Cannes Film Festival and Colombia’s entry in the 2021 Oscar race) lacks sufficient conflict and an organic sense of storytelling.
  14. The depiction of teenage acute depression settles for shallow character development and self-indulgent tropes that distract from a strong Hugh Jackman performance.
  15. Excessive reverence has killed many a well-meaning adaptation, but this “White Noise,” at once wildly mercurial and fastidiously controlled, somehow winds up triumphing over its own death. It’s too full of life — and also too funny, unruly, mischievous and disarmingly sweet — to really do otherwise.
  16. The Eternal Daughter is haunting, as all the best ghost stories are. The best love stories too.
  17. Despite the narrative elements that are part of Michael’s coping mechanisms, Aldridge and Field effectively salvage the emotional core of “Spoiler Alert,” bringing us back to the heart of the matter, and giving space to the feelings that should flow freely in a film like this.
  18. The more the movie pulls away from Peter’s perspective, the more it undercuts its own tension. And even with a physically impressive production at his disposal, Fuqua’s filmmaking instincts are clumsy and prone to cliché.
  19. Sometimes challenging and frequently moving, this movie considers the deeper reasons why Santa Claus inspires people — historically and now — while reminding viewers that the only reason traditions are traditions is because someone did them once and then did them again. We can always create new ones.
  20. Like its predecessor, it is enjoyably episodic, jumping from one comic vignette to another. Some of these connect, while others land with a thud. But so it goes with Christmas. Not every present is a winner.
  21. Garcia and Prinze are so likable that it’s satisfying to see them spend an hour or so of screen time figuring out what the audience knows right away.
  22. The overall mood is warm and cheery, and Lohan brings a spontaneous sincerity to even the corniest scenes. The movie’s wrapping is shiny and plastic, but its star quality is genuine.
  23. Overall, this picture is a refreshing alternative to the synthetic, simplistic Christmas movies that proliferate this time of year. Ditch the mistletoe and holly and it would still be a well-crafted, well-balanced character sketch, following two lost souls as they discover what they’ve been missing.
  24. A dazzling suite of emotions plays out within the confines of Boutefeu’s subdued, sensitive, gradually mesmerizing performance. At times she stares with laserlike focus into the camera, as if she had located the object of her scorn seated just behind the lens. Mostly she stares pensively into the middle distance, lost in the phantasms of memory.
  25. Tonally, Devotion remains steady, never going for over-the-top emotion or sensation, simply seeking to express something authentically moving and human. It unmistakably achieves that, delivering a stirring story of friendship during war, and beyond, that is both rare and real.
  26. In her elegantly unsettling portrait of an invisible woman straddling two notions of home — far from what she’s known, working inside a perilous system — Jusu is letting us know she’s got all diasporic women employed by wealthy families on her mind. And that their fears can easily become nightmares.
  27. Sr.
    Sr. proves a tender portrait and fitting tribute to an offbeat hero and creative pioneer.
  28. Even as she preserves the essential particulars of an oft-told story, de Clermont-Tonnerre draws out Lawrence’s feminism and class rage with a welcome forthrightness that occasionally translates into some overly emphatic dialogue. But as in any decent reimagining of this story, the emotional and sensual force of the central romance renders language irrelevant, body language excepted.
  29. One of Strange World’s triumphs is the vibrant, weird, visually stunning subterranean world that the film’s heroes stumble upon during their quest to save their way of life. From its lush palette to its cute and deadly flora and fauna, this strange, mysterious world is very much deserving of its status as the film’s title character.
  30. At its best, Taurus captures the tumult of the artistic process, where happy accidents and unpleasant truths are perpetually in conflict.

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