Los Angeles Times' Scores

For 13,453 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 Call Me by Your Name
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
13453 movie reviews
  1. What results is an emotional appeal that highlights a grave problem but doesn’t give the viewer the scientific, factual foundation to be completely convinced. The film also doesn’t offer solutions.
  2. This is cinema that pushes beyond the medium’s usual representational modes, beyond the observational qualities of neorealism or the interior states of psychological drama. Complex histories and unspoken emotions are distilled into a series of carefully composed tableaus, each one proceeding with slow, ceremonial deliberation.
  3. Writer-director Penny . . . has crafted a thoroughly workable and well-informed vehicle, providing a nurturing atmosphere for the unhurried dramatic developments and uniformly gracious performances.
  4. Tape might be based on a true story but it still feels disingenuous, both in its bleakest moments and in those meant to inspire solidarity. There’s clumsiness present in the filmmaking, with issues that deserve so much better.
  5. Regardless of how far audience members are from their own post-high school, pre-college summer like these teens, there’s still truth and plenty of laughter here that feels specific to their experience yet universal to anyone who’s had a BFF.
  6. One suspects Inside the Rain is a labor of love. One wishes its makers would have let us in enough to love it as well.
  7. Finnegan offers a vision of domesticity as a soul-sucking grind, done for the benefit of malevolent overlords. His film chills the mind more than the spine.
  8. A tense and gripping thriller inspired by yet another true-life, World War II-era tale of courage and resolve against one of history’s most unthinkable evils.
  9. More than most real-life stories about marginalized individuals overcoming daunting odds and deep-seated prejudices, “Crip Camp” manages to be at once sweetly affirming and breezily irreverent.
  10. Formidable from a technical standpoint, The Platform thrives on effectively grotesque production design and ghastly special effects that shock and disgust with purpose.
  11. Its chill, holistic view of the clinic and its canine patients will likely appeal to pet lovers and wellness devotees alike, although the allergic and the skeptics might find their minds wandering toward its end.
  12. Although the production establishes the requisite lived-in, small town feel, it has also chosen to take its dramatic cue from the seemingly sedated gaze of its lugubrious, aliens-obsessed protagonist, whom Le Gros portrays with a remarkable economy of expended energy.
  13. Dosed works best as a purely anecdotal, personal chronicle of a friend’s struggle with addiction therapies. It is not recommended as a substitute for scientific conclusions.
  14. While not everything connects in the movie, Hooking Up is saved by the efforts of Snow and Richardson. They make a charming couple, even if the film itself has less allure.
  15. Bolt’s ethically engaging, easy-to-grasp and artfully conceived film covers a wide range of areas that stir us to think about benefits and costs.
  16. A magnificent cast only partially compensates for the fizzling narrative.
  17. A briny Northeastern noir powered by women with secrets, Blow the Man Down is a pleasantly spiky slinging of small-town sin that should prove to be eminently companionable viewing for these sequestered, streamable times.
  18. Despite the noble ambitions of writer-director Sally Potter (“Orlando, “The Party”), The Roads Not Taken proves a morose and baffling drama; a painful, snail’s-paced 85 minutes with little payoff.
  19. Though “Virus” could have lived without the presence of director Goldberg as an on-camera through-line, it is at its best in presenting strong and vivid examples of anti-Semitic rhetoric and actions.
  20. Filmmaker Herbig and his team prove to be especially adept at contriving situations where anything anyone does causes fear, anxiety, stress and worry, leaving everyone, very much including the audience, existing on the knife’s edge of unremitting tension.
  21. Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.
  22. Though the film eventually gets to where it needs to go, it feels scattered, stumbling over true crime tropes on the way.
  23. Despite Tanović’s efforts to depict these crimes and their aftermath as aestheticized abstractions, there’s something depressingly mundane about the way the murders and the investigation play out.
  24. In its extreme length and precise technique, it’s decidedly not for everybody. But although it is at times distractingly opaque, occasionally Heise’s family’s words, juxtaposed with his sounds and images, crystallize into something singularly wise about the nexus of place, history and trauma.
  25. It is funny and fast paced, with an outstanding cast, and Orley modulates the tone well, conveying both the fun and the danger of being young, impulsive and poorly supervised.
  26. Unfortunately, this Australian horse racing film remains a standard underdog narrative that fails to rouse the audience from their seats, despite the best efforts from its cast and a few charming moments.
  27. The story is struck from a familiar template: inactive protagonist, dead parent, worries about popularity, a regional competition looming. But the film distinguishes itself from there, largely due to the direction of “Fast Color’s” Julia Hart.
  28. Despite its penetrating handheld camerawork (by Arnau Valls Colomer) and mind-altering sound design, Lost Transmissions never quite manages to tune out the lingering element of self-indulgence.
  29. A Kid from Coney Island proves to be as surprising and affecting as the unorthodox career trajectory of its subject, basketball player Stephon Marbury.
  30. The Hunt lacks the courage of its presumed convictions, displaying no more than a determination to make as much cash as possible by exploiting national divisions less covetous individuals are despairing of rather than monetizing.

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