Los Angeles Times' Scores

For 13,362 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: 61
Highest review score: 100 Elle
Lowest review score: 0 Natural Born Pranksters
Score distribution:
13362 movie reviews
  1. It’s elegant and diabolically poised, a familiar story expertly retooled for an era of tech-bro sociopathy and #MeToo outrage, but also graced with an insistently human pulse. Studio brand extensions rarely feel this intimate, this personally unnerving.
  2. Director Kenji Nagasaki pulls out all the stops in the climactic battle, serving up a dazzling array of explosions, lightning, punches, kicks, storm clouds and more explosions. The brilliant palette infuses the sequence with a striking visual beauty, even if the result is a foregone conclusion.
  3. Less would have been considerably more in the case of Tread, a needlessly overstuffed documentary chronicling the path that led to a disgruntled muffler repair shop owner going on a remarkable 2004 rampage in a heavily armored bulldozer through the streets of Granby, Colo.
  4. Onward is a touching, lovingly crafted oddity — a movie that acknowledges its borrowed elements at the outset and then proceeds to reinvigorate them with tried-and-true Pixar virtues: sly wit, dazzling invention and a delicacy of feeling that approaches the sublime.
  5. Like its predecessor, “The Boy II” is a fairly corny and stodgy spook-show, with a few good jolts and one genuinely creepy killer toy.
  6. The gags are often better in theory than practice.
  7. The movie, filmed over several start-and-stop years (credited director Eric Etebari completed the shoot) contains lots of weak dialogue, heavy-handed faith talk, awkward voiceovers, thin characterizations and illogical plot turns. Any questions?
  8. “Giraffes” benefits not only from Dagg’s charismatic presence but also from excerpts of letters she wrote during her first trip to Africa (read by Tatiana Maslany) and 16-millimeter color film she shot back in the day.
  9. It is a measure of the singularity of the Band’s story, and the way their music remains such a tonic to experience, that “Brothers” still demands to be seen.
  10. Emma partisans, fortunately, never say die, and a very satisfying new version of Austen’s sprightly novel has been directed in high style by Autumn de Wilde.
  11. Directed with bristling immediacy by Rashaad Ernesto Green (“Gun Hill Road”), Premature could be classified as a love story, a coming-of-age drama, a cautionary tale (the title offers a clue) and a portrait of young black women and men finding their way in contemporary New York. But it also strikes me as a movie about the uses and occasional uselessness of language, with stop-and-go verbal cadences that seem particularly attentive to what its characters say and don’t say.
  12. De Clercq’s clear directorial talent gives the film the illusion of respectability, but it can’t remove the sweaty sheen of smarm.
  13. Contemplative, analytical and troubling, this is a nature film refracted through a historical trauma, a compilation of visual wonders that doubles as an act of remembrance.
  14. Cunningham’s beguiling openness, coupled with as many estate-sanctioned photographs from his collection as Bozek can squeeze into the brisk running time, easily overcome a general roughness of assembly.
  15. Even when the picture eludes your narrative grasp, its estimable craft — evident in the shadows of Yves Cape’s photography and the moody ambience of the score, which Bonello composed himself — exerts its own hypnotic pull. The director’s talent, as ever, is predicated on an avoidance of the obvious.
  16. Treading topical waters with an incisive flair, de Jong offers no didactic salvation or pessimistic prospects. Goldie’s sole assurance is to trudge one rocky step at a time, and that’s all any of us can do.
  17. While the template may be familiar, the nicely balanced blend of comedy and pathos still hits the mark.
  18. Those anticipating something more traditionally calibrated will likely be disappointed with the film’s muted thrills and noncommittal denouement, but the elegantly composed film nevertheless makes for a creepy, contemplative entry in the Cristofer canon.
  19. The filmmakers give Hinako weaknesses and doubts as well as strengths and talents. She’s a more complex, fully realized character than many heroines in recent American features.
  20. The movie can only be classified as something truly terrible, escaping any other categorization that would make it resemble an actual film.
  21. Ultimately, just as the events tread a fine line between fantasy and reality, so does the film teeter precipitously between promise and pretense.
  22. The Photograph is a movie of seductive, slow-savored pleasures.
  23. Because Manville and Neeson are such potent performers, they are expert at playing out all the implications of what this experience is like.
  24. Downhill is a misfire, unable to show either of its stars to their best advantage. Neither the actors nor the film can decide how to balance humor with drama and that is the heart of the problem.
  25. The story is rescued from its somewhat formulaic groove by the vividness of its milieu and the vitality of the performances.
  26. The brilliance of Beanpole is that it begins as the story of a collective horror, then becomes utterly, fascinatingly specific.
  27. That all these characters and then some have distinct personalities is all the more remarkable because no one uses actual words, instead making do quite nicely with assorted grunts, groans and indefinable grumbles.
  28. What ensues amidst Jia’s indelible, gliding visuals of modern Shanghai are ruminative testimonials from the breadth of an older citizenry — former soldiers, descendants of gangsters and politicians, and (lots of) artists who endured the city’s turbulent evolution, and who in their stories of family, love and survival form a tapestry of memory and wisdom.
  29. To its credit, the script, by director Sara Zandieh and Stephanie Wu, works hard at inclusivity. Unfortunately, while a lesbian couple is fun, the gay men feel like a throwback and Alex’s bisexuality, which could have provided an intriguing and credible complication, goes nowhere.
  30. Very little about this movie feels fresh or original; but a talented cast, a solid Alex Carl script, and director Andy Palmer’s energetic pace and playful tone do make Camp Cold Brook unusually fun.

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