La La Land (2016)
Joyous musical celebrates love and art, modern and traditional in approach and theme, as aspiring actress Emma Stone and jazz pianist Ryan Gosling's relationship is set against a gorgeously designed LA backdrop. Captivating score and songs culminating with an ending both moving and soaring.
Lady Bird (2017)
Generously told, sharply detailed portrait of family life as curious Saoirse Ronan navigates final school year school and spars with controlling mother Laurie Metcalf. Vivid sense of community illuminated by warm performances, genial observation, and acute emotion.
Lady Hamilton (1941)
Sumptuous production values and Miklós Rózsa's score sweep away the inadequacies of storytelling, especially since it needs to balance contemporary wartime propaganda. However, Vivien Leigh's luminous, passionate performance compels the eye and the heart.
The Lady In Question (1940)
Breezy comedy benefits from Brian Aherne's generously principled Parisienne shopowner, who takes in suspected murderer Rita Hayworth until besotted son Glenn Ford discovers true identity. Romantic confusion spurs likeable characters and comfortable resolve.
The Lady Vanishes (1938)
Beautifully realized comedy/thriller, brimming with detail that rewards repeat viewings and shot through with Hitchcock's devilish wit. Script and cast bring humanity to the narrative and enclosed train setting ramps up tension and fun. Genuine classic.
Ladyhawke (1985)
Embracing fantasy adventure sees sentimental thief Matthew Broderick and broken priest Leo McKern drawn into breaking lovers curse that transforms Michelle Pfeiffer into a bird by day and Rutger Hauer a wolf at night. Gorgeously mounted, brightened by generous humor and capped with sweeping, emotional finale.
The Lake House (2006)
A typically engaging Sandra Bullock and impassive Keanu Reeves communicate through a post box even though separated by three years. Mind and time bending illogicality diffuses emotion and character involvement, yet somehow pull off a suitably romantic finale.
The Last American Hero (1973)
Brash driver Jeff Bridges uses skills honed evading police while delivering father's illegal whiskey to become a winning stock car racer. Lived-in, gritty feel accentuates sense of character with languid pace and blunt style. Story concerns remain in the background.
The Last Castle (2001)
Sturdily entertaining without realizing any thematic or personal resonance as principled army major Robert Redford turns tables on corrupt military prison warden James Gandolfini. The psychological and claustrophobic pressure builds well, the action finale less authentic.
Last Christmas (2019)
Despite Emilia Clarke's elfish energy and isolated moments of charm, synthetically manufactured tale of self-realization never rings true even within own strange logic and character stunt plot twist. Concept driven George Michael song celebration lacks emotion.
The Last Full Measure (2019)
Solidly if unsurprisingly structured, fine cast inhabits true story of heroism during bloody Vietnam War battle, exposing psychological wounds for survivors and political intrigue in suppressing events. Evocative Philip Klein score, moving conclusion.
The Last Letter From Your Lover (2021)
Elegantly costumed and burnished with evocative, rich visuals, modern day, remote journalist Felicity Jones uncovers Shailene Woodley's illicit 60s romance and frustrated chance to escape. Always involving without piercing any emotional truths.
The Last Man On Earth (1964)
Compromised by budgetary restrictions and bland storytelling, the widescreen visuals do occasionally offer eerie moments and the undead return of Vincent Price's wife is suitably unsettling. Vampire zombies should be more fun.
Last Night In Soho (2021)
Gorgeously conceived visuals both celebrate giddy 1960s London fantasy and conjure cruel, degrading horrors, as nervy fashion student Thomasin McKenzie lives in the past through aspiring singer Anya Taylor-Joy. Sterling cast and technical flair undermined by messy narrative.
Last Passenger (2013)
Breezy, tense fun that constrains a few stock characters on a runaway train across commuter belt England and tells the streamlined story with a sure sense of pacing and glossy visuals. Aided by an appealing cast, accelerating to a satisfying, explosive finale.
The Last Remake Of Beau Geste (1977)
Breezy pastiche features catalogue of visual and verbal gags as identical twins clueless Marty Feldman and heroic Michael York join foreign legion with voracious Ann-Margret chasing family diamond. Fine cast, inventive energy, plenty of silliness.
The Last Seduction (1994)
Linda Fiorentina's wonderfully cruel and savagely unrepentant turn drives the mechanics of a twisted and twisting narrative, using and disposing of men as she escapes with stolen drug money. Direction and script are stylishly straightforward, allowing its lead to shine.
The Last Showgirl (2024)
Gritty design underpin bleak resilience of struggling dreamer Pamela Anderson, facing closure of long-running Las Vegas revue which she continues to imagine as artful celebration. Strong cast sell life's struggles, yet patchwork visuals strain with unfocused plotting.
The Last Voyage Of The Demeter (2023)
Handsomely mounted and atmospherically realized, concept of haunted house at sea has mysterious crates loaded on titular boat for ocean trip to England revealed as containing beastly vampire. Murky exposition and staging suffocates tension as crew are violently picked off.
The Last Woman Standing (2015)
Accent on dramatic, deliberate tempo highlights social and family pressures for independent Shin Qi to marry, rather than appealing lightness of relationship with casual Eddie Peng. Attractive visuals afford comforting gloss, yet only isolated scenes rise above sense of stilted development.
Låt den rätte komma in (Let The Right One In) (2008)
Establishing unsettling atmosphere amid icy Swedish suburbs, young Kåre Hedebrant finds connection with unnerving new neighbour Lina Leandersson. Framed by evocative visuals, drama remains as much concerned with awkward, lonely friendship as bloody, vampiric horror.
Late Night (2019)
Without pretending to redefine genre, smart script details character and builds humor through empathy and situation as jaded talk show pioneer Emma Thompson is revived professionally and personally by Mandy Kaling's hopeful comedy writer. Sometimes roughly hewn, biting modern concerns mesh with broad, rousing emotions.
Late Night With The Devil (2023)
Acute design and intelligent staging persuasively establish found footage from 1970s U.S. late night TV talk show, accentuating enjoyably dark humor as edgy host David Dastmalchian invites evil live on air. Concept strains drama yet delivers on fierce revelations.
Laura (1944)
Controlled mystery, pierced with an elegant lyricism, as various obsessive men fall under spell of ambitious Gene Tierney. Suspicious detective Dana Andrews investigates Clifton Webb and Vincent Price, with surprises carefully revealed and David Raksin’s score gorgeously seductive.
Laura Gets A Cat (2017)
Dana Brooke is persuasive and empathetic as a hopeful writer struggling with creativity and a direction in life, while director Michael Ferrell creates a loose, generous structure and some acute dialogue. A slight story, elevated by small, personal moments.
The Lazarus Effect (2015)
Made with efficiency rather than inspiration, scientists create a serum to bring the dead back to life. Not unexpectedly, it doesn't turn out well. The attractive cast are unable to brin humanity to sketchy characters and narrative never builds tension.
A League Of Their Own (1992)
Seen through eyes of talented ball players and combative sisters Geena Davis and Lori Petty, evocative reflection on creation of true life wartime women's pro baseball league is charming, bittersweet and funny, as a winning cast delivers emotion with social and personal resonance.
Leap Year (2010)
Mining every imaginable Irish stereotype and delivering uninspired story mechanics, Amy Adams' charm and truth almost single-handedly redeems plot that sends her across Atlantic to surprise boyfriend with proposal. Fluid style amid glossy locations, as personal growth and inevitable sparks develop with local Matthew Goode.
Leave Her To Heaven (1944)
Beautifully visualized and crafted genre mash up that gradually ensnares with its languid style contrasted with Gene Tierney's piercing intensity. The cool horror of the lake death is a perfect summation of fragile obsession splintered and lost to the depths.
Leave No Trace (2018)
Told with plain, unfiltered integrity, life on fringes of society catches up with traumatized veteran Ben Foster who raises teen daughter Thomasin McKenzie in wilds. Centered on natural, affecting leads, situation remains intriguing rather than urgent, drifting to moving conclusion.
Leave The World Behind (2023)
Considered visuals conjure gradually threatening atmosphere, as prejudiced Julia Roberts and accepting Ethan Hawke find weekend holiday home under apocalyptic threat. Leisurely telling meanders through social issues and contemporary paranoia, without quite jelling unease.
Legado En Los Huesos (The Legacy Of The Bones) (2019)
Slickly produced and designed, performed with intensity, yet without a compelling drive. Narrative and supernatural twists prove more confusing than surprising, though the flooded town is impressively handled as the heroine chases her murderous mother.
Legally Blonde (2001)
Spirited comedy delivers appealing comic situations anchored by innocently empowered, vibrant Reese Witherspoon bringing West Coast ease to rigid Harvard Law School prejudice. Bright visuals and unsurprising story while lightly trading in themes of independence and confounding stereotypes.
Legend Of The Lost (1957)
Striking, richly textured visuals from Jack Cardiff make full use of the Sahara locations as grizzled John Wayne and hopeful Sophia Loren are stranded in the search for a lost city. Sedate pacing undermines adventure, though meandering scenes are not without interest.
The Leopard Man (1943)
Creaky plot mechanics can't diminish the eerie beauty of the visuals or effectiveness of murder set pieces when a leopard escapes in small town New Mexico. The ultimate killer not really in doubt, desolate characters trapped in the desert provide added potency.
Let It Snow (2019)
Attractive cast embrace breezy tone, an engaging mix of the comic and emotional, as Christmas Eve sees romance, family and friendship tested while the snow falls and final celebratory party brings the high schoolers together. In style and theme, amenable rather than distinctive.
Lethal Weapon (1987)
Increasingly preposterous action retains fresh energy tinged with dark character edge as suicidal maverick Mel Gibson and weary family man Danny Glover are mismatched cops on trail of mercenaries smuggling drugs. Casual humor adds appeal to kinetic polish.
Lethal Weapon 3 (1992)
Weary Danny Glover has days until retirement so of course unhinged Mel Gibson will find trouble. No nonsense Rene Russo adds spark as principled internal affairs officer and production provides easy comedy and slick action. Plot and threat remain disposable.
Lethal Weapon 4 (1998)
Pretense at character development and narrative cohesion jettisoned for domestic comedy and dual pregnancies interrupted by impressive, excessive action. Assassin Jet Li provides menace, Chris Rock and Joe Pesci deliver laughs. Few surprises as Mel Gibson and Danny Glover go through the motions.
The Letter (1940)
Intoxicating, noir-infused melodrama features coldly manipulative Bette Davis claiming innocence of deadly shooting on Malayan rubber plantation, until eminent lawyer James Stephenson receives titular evidence from blackmailing widow Gale Sondergaard. Evocative visuals aligned to potent staging.
A Letter To Three Wives (1949)
Unsure Jeanne Crain, ambitious Ann Sothern and jaded Linda Darnell are the titular characters who receive same message that one of their husbands (Jeffrey Lynn, Kirk Douglas, Paul Douglas) has run away with elusive and unseen Celeste Holm. Sublimely structured melodrama, a literate and satirical skewering of class and sexes in the suburbs.
Leviathan (1989)
Despite a typically skilful Jerry Goldsmith score and strong cast, the flat narrative springs too many leaks, as deep sea miners are contaminated by a virus in Russian vodka and mutate into a monster. Technically potent, the setup promises more than the rehashed end product.
Líbánky (Honeymoon) (2013)
Elegantly designed visuals and vivid wedding celebrations gradually undone by dark revelations and prejudice as sympathetic bride Anna Geislerová learns gruff husband Stanislav Majer's past secret from unnerving stranger Jiří Černý. Thriller edge and shades of satire conspire with acidic sense of character.
Libre (Freedom) (2024)
Slickly produced and energetically staged, true-life basis of charismatic thief Lucas Bravo spins through series of brazen robberies, arrests by dogged cop Yvan Attal, and audacious escapes, yet story's soul remains relationship with lover Léa Luce Busato. Always engaging, tonal and thematic shifts never quite coalesce.
Licorice Pizza (2021)
Engaging, easy view on 1970s California through generous prism of developing friendship between aimless 20-something Alana Haim and eager teen actor Cooper Hoffman. Hazy comic romanticism maintains enveloping looseness with sense of the personal and satiric.
The Lie (2020)
As net tightens on estranged parents Mireille Enos and Peter Sarsgaard when they try to hide daughter Joey King's involvement in disappearance of her best friend, widescreen compositions tend to deflate rather than elevate tension. Able cast left stranded by minor dramatics and late twist is unfortunately predictable.
Life (2017)
Gleaming visuals and persuasive cast elevate involvement as Mars organism retrieved by six-strong crew on space station proves unsurprisingly deadly. Smooth technique simmers tension without elevating thrills as story beats grind, though pacing is brisk and maintains incident.
Life After Beth (2014)
Narrative and tonal confusion means fitful laughs and leaves a talented cast floundering as Aubrey Plaza rises from the grave and ushers in an apocalypse of the undead. The jagged rhythms undermine involvement, resulting in a flat atmosphere. Missed opportunity.
The Life And Death Of Colonel Blimp (1943)
A veteran accountant at Rank Org bitterly told me that no Archers movie made a profit and wasted so much money. We should be thankful the creatives allowed Powell & Pressburger to make such a string of classics, including this thrilling, comic and moving epic.
The Life List (2025)
Uneasy literary concept of controlling mother Connie Britton's will dictating that floundering daughter Sofia Carson fulfill teenage dreams gradually eases into comic, romantic and emotional narrative beats. Confident production develops suitably unsurprising resolve.
Lifeforce (1985)
Henry Mancini's grandiose, dynamic score elevates the compulsively trashy story of alien vampires wreaking havoc in London and Mathilda May sending men into deadly sexual frenzy. Deliriously batty sequences and VFX accentuate the lack of cohesion and pure sense of mischief.
The Lifeguard (2013)
Flailing Kristen Bell, disillusioned with New York journalism returns to small-town home and resets by taking up old teenage role at local swimming pool. Messy relationships with parents, friends and young lover never quite coalesce into persuasive character depth, despite intense central performance.
The Lighthouse (2019)
Starkly captivating visuals bound with bracing sound design and score create deliciously off-kilter remote island for unrestrained Robert Pattinson to suffer psychotic snap along with grim Willem Dafoe. Trading in myth, an often thin line between violent absurdism and parody.
Like Dandelion Dust (2009)
Earnest study of family dispute with an affluent couple finding life upturned when the blue-collar natural parents seek to get their son back. Nothing particularly original or stylistically engaging, performers shine within a solid narrative structure.
Like Father (2018)
After work-consumed Kristen Bell's wedding day implodes, a drunken evening with estranged father Kelsey Grammer sees them regret impulsively going on her honeymoon cruise. Handling the light comedy and emotion, leads prove winning presence for entirely predictable life-lessons.
The Limehouse Golem (2016)
Channeling Hammer Gothic and gruesome procedural, dogged detective Bill Nighy trails killer in Victoria London, Olivia Cooke is the music hall performer accused of poisoning suspect husband. Heavy on atmosphere, involving in detail, subdued in thrills.
The Lincoln Lawyer (2011)
Initial story setup and character development prove intriguing, as confident defense attorney Matthew McConaughey dances round clients and cases. Fine cast, yet plot rapidly runs out of steam as it concentrates on wealthy Ryan Phillippe and family secrets.
Lionheart (1987)
Jerry Goldsmith’s epic score, rousing and thematic, reaches for heart of what could have been as young knight Eric Stoltz seeks redemption leading children to safety in medieval France. Muddled storytelling and awkward staging allied to unfocused characters, with expansive visuals only emphasizing unfulfilled end result.
Liteul poleseuteu (Little Forest) (2018)
Told with quiet charm, disillusioned Kim Tae-ri abandons city for rural home, suffused with memories of her mother and sparring with old friends. Sedately pace, relearning nature and cooking with seductive visuals resolves with tender emotion.
Little Children (2006)
Literate, provoking portrait of suburban fractures, affair between stifled Kate Winslet and conflicted Patrick Wilson part of neighborhood secrets and prejudice, further unsettled by Jackie Haley's returned pedophile. Immaculately crafted, conflict accentuated by bitter humor.
A Little Help (2010)
A convincing, relatable Jenna Fischer feels life spinning out after deceitful husband Chris O'Donnell dies and family and societal criticism squeezes in. The story tends to trowel on misfortune, leavened by caustic humor as she gradually emerges from the shadows.
Little Italy (2018)
Returning to Toronto, budding chef Emma Roberts sparks romance with childhood friend Hayden Christensen even as they're caught between ongoing feud of respective parents' pizzerias. Marooned by lazy plotting, stiff characters and awkward staging, willing cast provides only moments of relief.
Little Joe (2019)
Creating palpable sense of unease through carefully designed visuals and detailed sound, bioengineering tale sees committed Emily Beecham create plant strain to provide sensory comfort that might have a more sinister side effect. Absorbing and well played without quite reaching satisfactory thematic or dramatic resolve.
Little Pink House (2018)
Based on the 2005 Supreme Court ruling about eminent domain, a convincing Catherine Keener is the solitary voice trying to keep her home from federal destruction. Though tone wavers between character study and vital docu-drama, an always absorbing tale.
A Little Princess (1995)
Gorgeously conceived design and Patrick Doyle's sublime score elevate and support emotional tale that celebrates the imagination, as generous young Liesel Matthews is made servant at strict Eleanor Bron's boarding school. Pitched with consummate mix of comic and life-affirming drama.
Little Shop Of Horrors (1986)
Witty blend of bright pastiche and broad satire complemented by enjoyable song score and spirited cast, as resigned Rick Moranis finds fame in Skid Row flower shop with alien plant that has unfortunate appetite for humans. Gradually darker tone enhances humor.
Little Women (2019)
Intuitive adaptation reframes Saoirse Ronan's conviction to be a 19th century author with contemporary concerns and creativity, a fresh view without losing emotional heart of sisters and family. Design and color schemes create evocative settings, playfulness and melancholy well balanced.
Liú Làng Dì Qiú (The Wandering Earth) (2019)
Both convoluted and schematic, epically conceived visuals and breathlessly paced action spin narrative of attempts to avert collision with Jupiter. Brief sparks of humor outweighed by frequent pauses to strain for sentimental depth. Undeniably entertaining.
Liú Làng Dì Qiú 2 (The Wandering Earth II) (2024)
Expansive sci-fi establishes global effort to prevent destruction by using massive engines to break from orbit as well as blow up the moon. Bloated, unwieldy narrative touches on digital futures while delivering on ambitious visuals and fluid staging.
Live By Night (2016)
Handsomely mounted, a robust cast brings drama to individual scenes yet can't enliven a bland, unevenly spun narrative that sees haunted Ben Affleck lumber through blood-soaked streets of Boston and bleached Prohibition Florida. Despite ferocious gunplay, fumbles for emotional reach.
Lloyd's Of London (1936)
The stiff history of naval insurance becomes a rousing historical adventure featuring Nelson and the Battle Of Trafalgar as well as passionate love story between Tyrone Power and Madeleine Carroll. Not remotely believable, gorgeously mounted melodrama.
Locked In (2023)
Elements for twisted melodrama lost in psychological thriller that fails to develop character or situation and elevate tension. Suspicious nurse Anna Friel tries to uncover secrets behind comatose Famke Janssen's relationship with adopted Rose Williams. Adultery and murder told with glossy blandness.
The Lodger (1944)
Waves of fog swirl across richly textured sound stages, as Victorian London is terrorized by the Ripper. Laird Cregar is a powerful presence as the atmospherically lit and framed story largely jettisons psychology and character for propulsive sequences and features two energetic dance numbers.
Lonely Planet (2024)
Emotionally and creatively bruised, Laura Dern accepts invitation to Moroccan writers' retreat to work on novel, and connects with equally disillusioned financier Liam Hemsworth. Comfortably engaging, with character shades and evolving narrative unsurprising, yet lacks in a genuine rush.
The Long Goodbye (1973)
Wearied, principled Elliott Gould shabbily inhabits dogged detective Philip Marlowe whose search to prove dead friend's innocence dovetails noir fatalism and 70s cynicism with absurdist humor and edgy menace. Fluid visuals and fine cast pave way to earn uncompromising end.
The Long Haul (1957)
Making solid use of gritty, low-budget locations, tight staging elevates crude characterization with broken Victor Mature dragged into crooked truck operations in post-war Britain. Disillusioned Diana Dors provides acute emotions all the way to satisfyingly bleak conclusion.
The Long Kiss Goodnight (1996)
Fast jettisoning any form of credibility and progressing through series of violent action set pieces, genial housewife Geena Davis discovers true identity as ruthless assassin. Little tension, endless one-liners, swiftly paced thrills feature gutsy cast and big explosions.
The Long Walk (2025)
Grimly compelling dystopian drama sends group of teens out to see who will claim fortune by continuing longest on forever roads or shot down by military escort. Brutal, singular focus strips away background, game cast infusing types with emotion, before revenge and elusive resolve.
Long Weekend (2020)
Low-key romance relies on charm of suffering Finn Wittrock and spontaneous Zoe Chao, who is either just as psychologically damaged or may be a visitor from the future. Loose aesthetics focus on emotion to paper over logic, with pleasing rather than transporting resolve.
Longlegs (2023)
Severe, styled visuals create unnerving setting for narrative slipping between serial killer pursuit and supernatural contamination as intense FBI Agent Maika Monroe uncovers personal link with demonically hyped suspect Nicholas Cage. Maintains dark wit amid anxious cruelty.
Look Both Ways (2022)
On eve on leaving college, creative and ambitious Lilli Reinhart takes pregnancy test, with no story strands depending on result. Agreeably produced and performed, emotions skim the surface as fuzzy moral revolves on trusting instincts to achieve personal contentment.
Looker (1981)
Intriguing ideas on societal concepts of beauty and consumerist manipulation entwined with futuristic technology undone by muddled style and confused storytelling. Suspicious plastic surgeon Albert Finney and model Susan Dey infiltrate shifty James Coburn’s mysterious corporation with diminishing suspense.
Looper (2012)
Fluidly told, richly detailed, an enormously enjoyable time travel conundrum as intense hitman Joseph Gordon-Levitt must deal with killing older self, Bruce Willis, and untangle the future of gritty Emily Blunt and her son. Propulsive action, confounding logic, darkly satisfying.
The Looters (1955)
Rugged locations and gritty performances not helped by lumbering structure and bland characterisation as greed consumes plane crash survivors and their rescuers with discovery of stolen cash. Potent themes, including bitter Julie Adams' refusal to be exploited, add texture before unsurprising end.
Lore (2012)
Unflinching, composed, lyrical, a sorrowful and awakening journey for indoctrinated teen Saskia Rosendahl and her siblings as they journey across the brutal remnants of Nazi Germany. Pain and artistry burn through images and narrative that reach beyond prejudice for compassion.
The Lost City (2022)
Adventure comedy throwback throws disillusioned romantic novelist Sandra Bullock and uncomplicated model Channing Tatum into quest for ancient relic, dodging billionaire Daniel Radcliff's bullets on volcano threatened island. Anonymously enjoyable, misses genuine spirit.
The Lost Daughter (2021)
Strong performances and visuals illuminate strains of motherhood, as spiky Olivia Coleman remembers younger ambitious self Jessie Buckley after she meets brittle Dakota Johnson and daughter in Greece. Edgy tension tends to dissipate, purposely unresolved.
Lost Girls (2016)
Natural intensity is brought to intimately drawn anguish as Amy Ryan fights social and institutional prejudice and incompetence to search for her missing daughter. True-life unresolved case doesn't diminish family tension and drama pays off with cathartic emotions.
Lost Horizon (1937)
Grand romantic adventure excels with visual opulence, sweeping British diplomat Ronald Colman and last evacuees from war-torn China to remote, hidden valley where community is utopian. Unhurried pace and beguiling Dimitri Tiomkin score gradually weaves own spell.
Lost In Translation (2003)
Bittersweet, observant eye captures brief, drifting friendship between fading celebrity Bill Murray and unsure Scarlett Johansson as isolation in Tokyo bringing them together. Pervading sense of melancholy accentuates acute humor, laughs amid keen characterization and involving atmosphere.
The Lost Moment (1947)
With atmosphere drenched by doomed Gothic romance, devious publisher Robert Cummings rents room in aged Agnes Moorehead's Venetian mansion, intent of finding lost love letters written to her by famed poet. Captivating melodrama sees staid Susan Hayward entranced by ghosts of past.
The Lost World Jurassic Park (1997)
Flimsy narrative relies on robustly tooled set pieces as caustic Jeff Goldblum and team explore second dinosaur island while company sends in Pete Postlethwaite's hunters to capture and exploit back on mainland. Dynamic John Williams score, yet dark approach lacks cohesion and sense of awe.
Lou (2022)
Tight, atmospheric setup sends brutal, no-nonsense Allison Janney into storm-ravaged wilds with desperate mother Jurnee Smollett whose young son has been kidnapped by increasingly unhinged father Logan Marshall-Green. Unfortunately, melodramatic twist undermines rather than enhances emotional substance as thrills simmer.
Love And Monsters (2020)
A sure blend of comedy and action courses through this unexpected pleasure as a self-deprecating Dylan O'Brien journeys through a landscape of giant insects to reach his idealized love. Visuals are colorful, rhythm breezy, monsters diverting throwbacks.
Love And Other Drugs (2010)
Satiric swing at U.S. pharmaceutical sales (and 1990s arrival of Viagra) meets sour medical dramatics while centered on attraction between cynical salesman Jake Gyllenhaal and artistic Anne Hathaway, who suffers Parkinson's disease. Messy, heartfelt contradictions capture relationship and film.
Love At First Sight (2023)
Within confines of artificially confected London locations and archly conceived supporting characters, unremarkably quirky romance remains accessible through engaging honesty of drifting Haley Lu Richardson. 24-hour relationship with hurt Ben Hardy is tidily enjoyable.
Love, Cheat & Steal (1993)
Violent Eric Roberts breaks out of jail, determined to take revenge on duplicitous wife Mädchen Amick, until deciding to also rob new husband John Lithgow's bank. Scope for dark thrills involving corrupt characters squandered, lacking style and signposting twists.
Love Guaranteed (2020)
To keep business afloat, idealistic, unattached lawyer Rachael Leigh Cook is forced to take unattached Damon Wayans Jr's case against dating website after 1,000 failed matches. Easy chemistry of leads maintains involvement despite narrative and character implausibility. Blandly comforting.
Love Hard (2021)
In attempt to banish disastrous romantic history, frustrated Nina Dobrev impulsively travels across country to surprise perfect mate found online only to discover she's been catfished by insecure Jimmy O Yang. Appealing leads and comfortably inevitable, even if final spark is missing.
Love In The Villa (2022)
Attractive visuals and fluid tempo aid fanciful, predictable romantic confusion as jilted, optimistic Kat Graham continues with Roman holiday only to find Juliet-inspired apartment double-booked by abrasive Brit, Tom Hopper. Spirited song selection and score papers over some of the cracks.
Love Is A Gun (1994)
Sold as a steamy thriller, Eric Roberts' twitchy crime scene photographer is in a fractious relationship with Eliza Roberts even as he obsesses over unbalanced Kelly Preston. Murder and madness ensues. Tone and marital breakdowns veer more to black and absurdist comedy.
Love Is In The Air (2023)
Attractive locations and leads as genial Joshua Sasses is sent to Australia by investment company to dismantle Delta Goodrem's community-minded, single seaplane airline. Not remotely believable, generally agreeable romantic games and character building story twists flag badly by throwaway end.
Love Lies Bleeding (2024)
Distinctively realized crime melodrama reverberates with noir fatality and knowing humor as defensive Kristen Stewart's attraction to aspiring bodybuilder Katy O'Brian awakens past guilt and present violence. Patchily effective, giddy spirit resolves with surreal touch.
Love Story (1944)
Though set in contemporary wartime, the intensity and emotion mirrors other Gainsborough melodramas as characters battle tragedy and loss to live the day. Involving performances from Margaret Lockwood, Stewart Granger and Patricia Roc as well as perennial Cornish Rhapsody still engage.
Love Wedding Repeat (2020)
Italian villa provides picturesque setting for strained comedy and blandly staged character payoffs as amiable Sam Claflin's increasingly desperate attempts to ensure smooth wedding for sister Eleanor Tomlinson play out in alternate versions. Unrequited love Olivia Munn and oddball support can't compensate.
Lovelace (2013)
While design and spirit tangibly conjure 1970s, and initial comic edge contrasts with sleazy Peter Sarsgaard's cruel manipulation of Amanda Seyfried's era-defining porn star, approach lacks character and thematic clarity. Committed leads and fine support without final resonance.
Lucía y el sexo (Sex and Lucía) (2001)
Intense, fragmentary, shot through with artistry and desire, and truly living up to its title, an ultimately moving mosaic of female relationships with a writer. Formidable Paz Vega, Tristán Ulloa & Elena Anaya blend reality and imagination.
The Luck Of The Irish (1948)
Light comedy follows career minded Tyrone Power's encounter with sunny Anne Baxter and cunning leprechaun Cecil Kellaway who follow him to New York, and provoke a questioning of political and financial priorities. Coasting on appealing leads provides easy engagement, if little imagination.
Luckiest Girl Alive (2022)
Grimly focused portrait of school shooting survivor and rape victim Mila Kunis, coping with reverberating trauma and ongoing gossip and lies, while fitting into prospective marriage. Strong themes and unflinching lead, hindered by uneven approach and soft resolve.
Lucky Jordan (1942)
After confident titular gangster Alan Ladd can't avoid the draft, he goes AWOL and thrown between spies, assassins, secret military papers and disapproving WAC Helen Walker. Without quite the needed snap and energy, solid cast battles to sustain action and humor.
Lucky Them (2014)
Toni Collette is an amiably cynical and wearied music journalist and muse who manages to rope in eccentric Thomas Hayden Church in the search for an ex-boyfriend and influential rocker who disappeared presumed dead. A shaggy tale told with quirky charm and humor.
Lucy (2014)
Energetically unsubtle sci-fi action injects unknowing Scarlett Johansson with synthetic drug that expands mental capacity while she's chased by criminal gang and disbelieving authorities. Not much makes sense and tension evaporates beyond glossy surface, relying on lead's gutsy charm and trippy conclusion.
Lulli (2021)
After self-centered medical student Larissa Manoela recovers from hospital accident, she discovers ability to hear people's thoughts and undergoes romantic and life reassessment. Despite engaging lead, busy staging strains for laughs and character, resulting in patchy involvement.
Lulu femme nue (Lulu) (2013)
Failed job interview prompts withdrawn Karin Viard to take break from mundane home life and a chance with lonely Claude Gensac, put down Nina Meurisse and floundering Bouli Lanners. Understated naturalism, appealingly performed, sensitively resolved.
Lunana A Yak In The Classroom (2019)
Captivating, simply told tale luxuriates in broad landscapes at once hostile and beguiling, as aspiring musician Sherab Dorji is sent to remote mountain village as teacher and finds initial antipathy melting away. Effectively detailed emotions.