Los Angeles Times' Scores

For 13,455 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 Children of a Lesser God
Lowest review score: 0 BASEketball
Score distribution:
13455 movie reviews
  1. After a strong start the movie steadily declines, one set piece after another, and there are many moments where the mind wanders and then asks: “Is this still going on?”
  2. While some individuals are inevitably more compelling than others, as a whole the entire series, and 63 Up in particular, is completely enveloping as it draws us into the latest happenings of these people we’ve followed for so long.
  3. Although vital and intriguing, the film could have been more seamlessly assembled.
  4. Travis Hodgkins’ script strives to inspire, but it’s trite even for a drama about the magic of Christmas. Unfortunately, A New Christmas receives little help from either the amateur acting or first-time director Daniel Tenenbaum’s hand.
  5. It’s rare to see a horror film so devoted to intricate plot mechanics and so concerned with driving to a satisfying payoff.
  6. We’ve seen many versions of this kind of story before, but there’s something so spot-on and involving about the film, written and directed by Daniel Schechter — and performed with such a lived-in rhythm by its talented cast — that it proves surprisingly refreshing.
  7. A penetrating, mournful portrait of sexual identity in contemporary Guatemala City.
  8. The limited location here appears to have been strictly a cost-saving measure, not an opportunity to get creative.
  9. For the most part this movie is a tightly constructed and sensitively rendered conversation-starter, comparing grief and loss to the sensation of faulty memories. It takes a strange and fascinating meme, and makes it personal.
  10. This is a rare case when a cheap B-movie isn’t improved by Cage-style clowning.
  11. In supporting roles of varying importance, Masterson, Sasha Lane and Hannah Marks do enough to suggest the film would have been better off giving them more. But Daniel Isn’t Real remains a two-man show, and Robbins and Schwarzenegger are an odd couple worth believing in.
  12. The virtues of The Aeronauts are real but they are almost exclusively visual. Despite the hard work of acclaimed actors in what sounds on paper like a strong story, the drama presented is determinedly earth-bound.
  13. As Colewell sinks in, it reveals itself as the cinematic equivalent of a deep exhale after having attained peace within.
  14. The ideas outpace the action in a movie that’s clearly been made with passion and intelligence, but without the kind of zip that this kind of story demands.
  15. Varda’s playful tour of her life’s work in the movies is nothing less than an opportunity to get to know one of cinema’s greatest treasures.
  16. The film effectively illustrates how the words “Most Likely to Succeed,” written under a yearbook photo can serve as both a cheering vote of confidence and an awfully daunting expectation.
  17. Awash in Christopher Rejano’s neon-hued cinematography and punctuated by Nick Zinner’s eerie synth soundscapes, Reeder’s meandering tale is a fever dream of ideas.
  18. It’s the rare movie that can take something as ancient as myth and use it to break your heart anew.
  19. Watts is plenty convincing as someone well past the brink of a psychotic break, but The Wolf Hour takes too long to get properly cranked up. This movie is mostly just mood-setting, with much more going on in the background than the foreground.
  20. Nothing on screen is as electrifying or surprising as it was on the page, as semi-fictionally enhanced as the writing was.
  21. Taguchi and Lefferman approach it all less like journalists or vérité documentarians than friendly guests who want to be respectful yet connect to something deeper about pain, mourning and forward movement.
  22. Zilbalodis’ storytelling is intriguing but oblique.
  23. Unfortunately, as cobbled together by writer-director Patrea Patrick, those historical elements, in which grainy black-and-white archival footage is unconvincingly blended with repetitive reenactments, keep distracting from the main attraction, who is prominently featured in candid interviews conducted some years prior to his death in 2018.
  24. Wolf’s strange, sad and finally exhilarating portrait is one of radical consumerism turned into a searchable legacy — the viewer as activist.
  25. Although there are some tonal and plot issues, Gourmel’s directorial debut finely captures the dangerous energy of being a teen, especially one who struggles to deal with her life. Cavale is an imperfect film, but it’s evidence that Gourmel will be a filmmaker to watch.
  26. Melody Makers never becomes more than a set of disconnected sound bites and archival photos, loosely assembled. At times the film feels like outtakes from another, more cohesive documentary about Melody Maker’s legacy.
  27. The film poses half-formed thoughts about femininity through the lens of nationality, immigration, work, creativity and money, but ultimately the only profound thing it manages to say is on the nature of exploitation between subject and author. A fascinating albeit frustrating sketch on the topic.
  28. Ly’s considerable skill aside, what makes Les Misérables such an immersive experience is the crackling sense of authenticity that is the film’s birthright.
  29. Among the virtues of The Two Popes, a sparkling confection with a serious side, is that, given its prosaic title, its crowd-pleasing attributes come as pretty much of a surprise.
  30. Don’t let its florid, mouthful of a title mislead you: The Body Remembers When the World Broke Open is a film that’s as urgent and unpretentious as it is remarkable. It’s safe to say you haven’t seen too many movies quite like it.

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