Los Angeles Times' Scores

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For 16,520 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: 63
Highest review score: 100 Sand Storm
Lowest review score: 0 Saw VI
Score distribution:
  1. Positive: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Animal Farm
    What’s left is a visually unappetizing Animal Farm that plays as if someone sloppily traced over a masterpiece. And Serkis (who also voices a rooster) doesn’t so much direct it as twist some grand knob with settings like “Louder,” “Faster,” “Jokier,” “Bigger.”
  2. Scream 7
    From abandoned panic rooms to flubbed Ghostface executions, the characters make so many dumb choices that eventually we’re convinced that Williamson is frustrating us by design. Maybe in the boldest meta twist of all, the inventor of "Scream” wants to kill it off himself.
  3. Melania
    I’m hesitant to call Melania propaganda because I can’t imagine anyone watching this movie and thinking that Melania Trump comes off well. If this vapid, airless, mindless time-waster had subversive designs of being a satire about the first lady of the United States, there’s not much it would have changed.
  4. Five Nights at Freddy's 2
    A laughably cheesy, empty-headed follow-up that makes the mediocre prior film shine in comparison.
  5. The Carpenter's Son
    With its flat location visuals, B-movie gore (snakes pulled from mouths) and colorless score, The Carpenter’s Son is the uninspired origin story you never prayed for.
  6. Shelby Oaks
    Stuckmann grabbing aimlessly in the last third for the kind of sickly visual elegance that is Flanagan’s deliberative style. But it only ever feels like homage, not anything organic — Stuckmann doesn’t have his mentor’s storytelling smarts, nor his flair for the underpinnings of normality that ground horror.
  7. Ballad of a Small Player
    It’s an overload of overkill, yet as tedious and empty as the last day of a 72-hour trip to Vegas when the novelty has worn off and you just want to go home and sleep.
  8. Smurfs
    Everything about the story, from opening to closing dance party, feels like it was made up on an especially unimaginative playdate by bored kids who’d rather be watching TV.
  9. Jurassic World Rebirth
    Jurassic World Rebirth is a straight monster movie with zero awe or prestige. It’s incurious about its stomping creatures and barely invested in the humans either, tasking Johansson and most of the cast to play fairly similar shades of hardy and determined.
  10. Hurry Up Tomorrow
    It won’t slam the door on Tesfaye’s movie ambitions, but as a bid to conquer the big screen, it’s an off-putting, see-what-sticks wallow that treats the power of cinema like a midconcert costume change.
  11. Love Hurts
    Love Hurts is an action-romance that fizzles like a science-class volcano made of baking soda and cheese. The individual ingredients are fine: two killers on the run from punishment and their personal feelings for each other, played by Oscar winners Ke Huy Quan and Ariana DeBose. But their chemistry is all wrong.
  12. Wolf Man
    Wolf Man is a boring body-horror endurance test that mostly takes place in one home from sundown to sunrise. There’s so much interior creaking and panting, and so little dialogue or plot, that if you closed your eyes, the projectionist could have swapped reels with a different genre of doggy style.
  13. Bonhoeffer: Pastor. Spy. Assassin.
    Every awkwardly declarative, stagy scene in “Bonhoeffer” is just a right-against-wrong equation to be answered by the title character’s virtue.
  14. Red One
    Red One is a confounding project that is clearly trying to be for all audiences (it’s weirdly kiddie-oriented, but feels more aimed at adults) and is so bad it ends up being for none.
  15. Here
    The story of Here surrounding Richard and Margaret is relatable, entirely predictable and utterly dull.
  16. Reagan
    A childish slog of hero worship.
  17. The Crow
    Despite the high body count, consider this a murder of The Crow.
  18. Borderlands
    An insipid mishmash of trite genre tropes, Borderlands is devoid of any real edge.
  19. Horizon: An American Saga - Chapter 1
    What unfolds on screen over the course of three hours and one minute in Horizon: An American Saga — Chapter 1 can only be described as a massive boondoggle, a misguided and excruciatingly tedious cinematic experience. That Costner has promised three more installments feels like a threat.
  20. Imaginary
    If kids can grow out of their pretend pals, so too can horror audiences of cynical snoozes like this.
  21. Argylle
    Argylle has bone-deep structural issues on a fundamental level, but it is also a failure of directorial execution from top to bottom, resulting in what has to be one of the most expensive worst movies ever made. It’s honestly fascinating — something that should be studied in a lab.
  22. Next Goal Wins
    The overall flavor profile indicates that Waititi, whose own cartoonish appearance as a priest feels like an afterthought, has become bored with his signature brand of goofy uplift. Going by the unfunny self-referential gags (“The Karate Kid,” “The Matrix,” “Taken”), you’d swear the Oscar-winning filmmaker was struggling with the impulse to go full parody.
  23. It's a Wonderful Knife
    Try as it does to mash slasher and Christmas picture together into some kind of a yuletide “Scream,” “It’s a Wonderful Knife” so badly miscalculates both genres that you count down the minutes, wishing for a guardian angel to save its likable young stars from the movie they’re stuck in.
  24. The Marsh King's Daughter
    When we need the churning dread of an intimate tale of generational trauma, The Marsh King’s Daughter goes formulaic, and when we’re primed for exploitation sweats, it gets flabby.
  25. Dear David
    it is a boring paint-by-numbers ghost movie, a jumble of tropes borrowed from movies like “The Ring,” and a poor facsimile of its influences.
  26. Cat Person
    If anything, the new stuff’s brazenness is truer in tone to what this “Cat Person” clearly wants to be: a slick, snarky, pulverizing horror-comedy rather than the compressed, low-key Mary Gaitskill-meets-Eliza Hittman cringefest that Roupenian’s delicate storytelling conjured with every peek into Margot’s drifting psyche.
  27. Foe
    Everyone here really wants to make something good and moving, but they’re all working so hard to make something out of nothing.
  28. She Came to Me
    It’s only October but your Thanksgiving turkey has arrived. It’s called She Came to Me, a mishmash of flimsy, fanciful and far-fetched notions dressed up as a screwball New York rom-com. Given its pedigreed cast and filmmaker, the results are doubly sad.
  29. Outlaw Johnny Black
    While its ramshackle editing could be unintentionally humorous, and the obvious dialogue almost veers toward the inadvertently enjoyable, it’s the movie’s insistence on punching down that renders it more of a nightmare than a fever dream.
  30. My Big Fat Greek Wedding 3
    It’s a rom-com both com-less and rom-less.
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