Los Angeles Times' Scores

For 13,472 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 Zero Dark Thirty
Lowest review score: 0 Saw VI
Score distribution:
13472 movie reviews
  1. While the template may be familiar, the nicely balanced blend of comedy and pathos still hits the mark.
  2. 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.
  3. 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.
  4. The movie can only be classified as something truly terrible, escaping any other categorization that would make it resemble an actual film.
  5. Ultimately, just as the events tread a fine line between fantasy and reality, so does the film teeter precipitously between promise and pretense.
  6. The Photograph is a movie of seductive, slow-savored pleasures.
  7. Because Manville and Neeson are such potent performers, they are expert at playing out all the implications of what this experience is like.
  8. 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.
  9. The story is rescued from its somewhat formulaic groove by the vividness of its milieu and the vitality of the performances.
  10. The brilliance of Beanpole is that it begins as the story of a collective horror, then becomes utterly, fascinatingly specific.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. For the most part Hank’s heartbreak resonates. By the end of After Midnight, he and the audience both may wonder whether the bogeyman and true love are equally mythical.
  16. This is a fast, fun watch that succeeds largely on the charms of its star and the able hands of its director.
  17. At once frank, tender and unapologetically funny, Come as You Are is a sweet surprise.
  18. Olympic Dreams is a wispy, quasi-romantic dramedy whose affecting moments are eclipsed by its overly random, sometimes awkwardly played and constructed narrative.
  19. There’s some overreach and muddle here — you wouldn’t want a pop quiz on the plot — but “Last Thing” remains an intriguing, visually diverting piece, well shot by Bobby Bukowski.
  20. Sonic the Hedgehog is legitimately funny, heartwarming and entertaining.
  21. The real draw to the “To All The Boys” cinematic universe is the connection between Condor and Centineo, who have intoxicating chemistry, keeping things interesting as “P.S. I Still Love You” ambles to its inevitable conclusion. They bring the charm, but one wishes it had a more exciting movie to support it.
  22. A probing though ponderously episodic drama that ultimately feels as stitched together as Sawchuk’s frequently unmasked mug.
  23. Approaching the world in his own specific visual way, Geyrhalter also gravitates toward exploring big ideas, and here he takes on one of the biggest, an exploration of, as he puts it, “the wounds we are inflicting on the Earth.”
  24. A chilling portrait of how fanaticism can grow and be enabled, this is a matter-of-fact film that moves with an awful inexorability toward its foregone conclusion.
  25. The movie’s strongest asset is Keough, an actress who can seize and hold the screen with electrifying force (check out her terrific turns in “American Honey” and the forthcoming “Zola”), but who is no less powerful in her quieter, more recessive moments.
  26. The film’s heart appears to be in the right place, but its missteps and melodrama make this a fromage unworthy of savoring.
  27. The one-sided film’s wheels come off when covering Thomas’ fraught 1991 Senate confirmation hearings.
  28. Ostensibly, this is a tragedy about mental illness, and the way that someone can slip through the cracks in society without family, friends and a network of support. But Horse Girl is far more subversive and playful than just that, allowing for Sarah’s peculiar reality to envelope our own.
  29. José is hardly the first movie to spotlight a young person navigating their homosexuality in a repressive and perilous environment. Nonetheless, this sophomore feature from Chinese-born director Li Cheng, who co-wrote with George F. Roberson, feels like a singular and essential entry in that subset of LGBTQ coming-of-age films with an international beat.
  30. The best movie twists — like the ones in “Psycho,” “The Crying Game” and “Parasite” — aren’t just unexpected, but also change the direction and meaning of the story. Director Ant Timpson’s blackly comic thriller Come to Daddy isn’t in the same elite class as those films, but it does deliver a good, sick twist; and sometimes that’s enough.

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