Los Angeles Times' Scores

For 11,773 reviews, this publication has graded:
  • 56% higher than the average critic
  • 6% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Gatekeepers
Lowest review score: 0 Bio-Dome
Score distribution:
11773 movie reviews
  1. Can You Ever Forgive Me? demands not our love for this supremely difficult person but rather our respect for her defiance of an unsympathetic world. With such an impeccable presentation of such an intransigent personality, it is hard to deny her that.
  2. With a canny balance of empathy and exploitation, Halloween treats its heroine’s lingering trauma with surprising emotional realism and only a hint of comic exaggeration.
  3. Shifting his energies to a Victorian-era island blood cult hasn’t dimmed Evans’ taste for feverish body harm, but it’s more clearly laid bare his narrative shortcomings.
  4. With real soul and gravitas, Marks and Power craft romantic drama that demonstrates that life’s hardest challenges can come at any age.
  5. [A] crisp, engaging documentary.
  6. The prescription of rest, meditation, exercise and nutrition is not exactly fresh, but Coors’ story is inspiring and the message that mental, physical and spiritual health are inextricably linked is one we cannot hear often enough.
  7. The detachment at work in Beautiful Boy suggests an attempt to speak clearly and truthfully, to resist the clichés of the addiction drama while acknowledging that those clichés can hardly be rewritten.
  8. The movie’s artier components are imbued with enough heart and poetry to hold the picture together — just barely — through the more tedious stretches.
  9. Director George Gallo, taking a cue from his 1991 film, “29th Street,” romanticizes everything in a nostalgic glow, but without a sturdier script featuring fully dimensional characters at his disposal, the performances prove to be as unconvincing as their ethnic accents and period wigs.
  10. Among all the loquacious chaos, Nat steals the film with the quieter performance as the pained, soulful and deeply feeling Jack.
  11. This isn’t an idealized version of romance or L.A. millennials; Kotlyarenko and Nekrasova shine a glaring iPhone flashlight on their characters’ — and their generation’s — flaws.
  12. Bernstein stages a few good, tense moments in the film’s second half — in particular a skate-chase scene on an iced-over stream — but Look Away mostly fails as a “killer teen” movie. The pace is too slow, and the mood too somber.
  13. The film adopts a sanctimonious tone that’s anything but subtle.
  14. An accomplished cast does what it can to bring the material to life, but it’s tough to add fine emotional shading to characters so thick and cartoonish.
  15. Ultimately, Studio 54 proves a nostalgic, sometimes wistful, other times unsettling look back at a singular period of time.
  16. A good supporting cast — including Isiah Whitlock Jr., Harris Yulin, Tom Everett Scott and Josh Lucas as a hindrance to John’s plans — gives Kelly much to play off, but the story is too rote to get worked up about any of the conflicts.
  17. The Kindergarten Teacher may offer a less audacious, more stylistically muted version of its predecessor, but by the time its quietly perfect final shot arrives, the movie has reached the same provocative conclusion. It’s not poetry, exactly, but it’s pretty shattering prose.
  18. Once all the pieces are in place, the film becomes a more conventional and less interesting thriller, with a single violent villain the heroes have to overcome.
  19. What unnecessary imprisonment does to families is often written about in abstract terms, but to see what it did to one specific family runs an emotional gamut that the patience of this heroically committed filmmaker does full justice to.
  20. While the pace of “Sadie” meanders and is often a bit pokey, the excellent cast, including Danielle Brooks as Carla, the local bartender and Rae’s best friend, brings your attention fully to the dramatic goings-on in this tiny community.
  21. The need to make an ordinary life extraordinary is so prevalent it smothers any genuine emotion from family members losing a loved one.
  22. MFKZ is obviously modeled on Katsuhiro Ôtomo’s “Akira” and Taiyô Matsumoto’s “Tekkonkinkreet,” but it lacks the gritty brilliance of the former and the underdog poignancy of the latter.
  23. Truth be told, I don’t much mind the version of Bad Times at the El Royale we have before us. Even if, with its multi-chapter narrative and time-skipping plotlines, its mix of verbal longwindedness and abrupt violence, the movie initially seems to warn of a terminal case of Tarantino-itis: an El Royale with cheese.
  24. It’s a film of decided care and forethought.
  25. Working closely with master editor William Goldenberg, Greengrass has given 22 July a relentless, remorseless quality, insisting on a matter-of-fact style that allows no escape from reality even while refusing to push anything too hard.
  26. Stone doesn’t explicitly ask the straightforward, big-picture questions you’ll find in a film like “Arrival.” But his attention to detail and character, and his ability to render those people in recognizable settings, is engrossing.
  27. A meandering, pointless and boring rumination on substances and those who love to abuse them.
  28. Despite its flaws, The Samuel Project is likely to make an impact on open-hearted audiences, with extra credit due Linden for an authentic performance in line with the actor’s body of work.
    • Los Angeles Times
  29. If nothing else, The Church proves something: Better an amusingly terrible, eye-catching horror movie than a slick, nondescript, boring one.
  30. “Above and Beyond” is a slick, engrossing sizzle reel of the agency’s triumphs at turning curiosity about the universe into data about our place in it.

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