Los Angeles Times' Scores

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For 16,524 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: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Beautiful Beings
    An often tense release-valve scenario flecked with moments of dream imagery and lyrical naturalism, “Beautiful Beings” certainly positions Guðmundsson as one of the more thoughtful chroniclers of the awkward age, even if he never quite knows how to corral his many moods into something wholly resonant about the nihilistic trap of delinquency.
  2. Daughter
    The symbolism remains heavy, but it’s all in service of a powerful prisoner’s story, about the small ways people find freedom.
  3. Beau Is Afraid
    Beau Is Afraid offers arresting confirmation of Aster’s talent and fresh evidence of his limitations. It’s a big, wildly ambitious swing of a movie, one that seems eager to liberate itself and its characters from the conventions of form and genre. But that more expansive energy is at odds with and ultimately constrained by the story’s mother/man-child dialectic.
  4. True Spirit
    Give credit to Spillane for making sure that this movie isn’t just about the heartwarming highs, but about the hard work it took to reach them.
  5. Attachment
    When Attachment becomes more of a full-blown possession thriller in its final third, it loses the lighthearted charm and keen observation of its earlier sections. Still, that first hour is so sweet that the comparatively sour parts don’t spoil the picture.
  6. Free Skate
    The film is visually sharp and quietly absorbing, and Olenius and Vilo sensitively capture the isolation and self-doubt that can make an athlete’s life so lonely.
  7. Jethica
    Indie filmmaker Pete Ohs and a small cast of committed actors ventured out into a barren New Mexico nowhere for “Jethica,” a horror-comedy that doesn’t offer much in the way of scares or laughs but is strangely fascinating regardless.
  8. That Time I Got Reincarnated as a Slime the Movie: Scarlet Bond
    The movie isn’t unusual-looking or surprising, but my daughter assures me fans of the show will not want to miss it. The rest of us will be immersed in warm confusion as things we just don’t understand unspool before us.
  9. All Eyes Off Me
    The film is bracingly frank about the younger generation’s pursuit of sensual pleasure (and pain). And it’s graced by Weil’s superb performance as Avishag, a multilayered character who swings from maudlin sentimentality to the extremes of human desire.
  10. 80 for Brady
    The comedy isn’t necessarily groundbreaking, and the story beats are almost painfully predictable, but the picture hangs together thanks to this group of legends and the loose, absurdist humor of the screenplay.
  11. Run Rabbit Run
    Sarah Snook gives a riveting performance as a mother going mad in Run Rabbit Run, a psychological thriller that’s mostly effective, even though its story is familiar and somewhat threadbare.
  12. The Mission
    The Mission is less about Mormonism or Finland than it is a poignant and relatable portrait of loneliness.
  13. Shortcomings
    As a director, Park stages his scenes with an unadorned flatness that strives to approximate the humdrum workaday poetry of Tomine’s comic-book frames but sometimes allows too much dead air to coalesce around the jokes and arguments.
  14. Cocaine Bear
    It’s hard to completely dismiss a mainstream horror-comedy that offers a nice supply of sharp and grisly, at least until it takes a disappointing turn for soft and cuddly.
  15. Pamela, a love story
    Anderson’s story becomes a tale of perseverance, about a passionate woman still searching for her happy ending.
  16. The Deepest Breath
    Despite the morbid preoccupation with diving’s dangers, The Deepest Breath is an intense and often beautiful movie, likely to appeal to fans of extreme sports documentaries like “Free Solo” and “Riding Giants.”
  17. The Civil Dead
    The movie’s premise is clever; but what really makes it work is that these two use this ghost schtick as a way to examine the ways that friendship can be a hassle.
  18. Murder Mystery 2
    The primary assets here though are Aniston and Sandler, who are totally present in every scene, playing off each other like old comedy pros and coming up with little bits of improvisatory business that make Nick and Audrey feel like a real and loving married couple.
  19. The Locksmith
    The Locksmith screenplay (credited to five people, none of whom are Harvard) doesn’t have the snappy dialogue of the best noirs; but its storytelling is efficient, with enough characters to make its world feel well-populated but not overstuffed.
  20. Body Parts
    The film works best when it gets into the nuts-and-bolts of the sex scenes themselves, past and present.
  21. A Lot of Nothing
    There’s an earnest, yearning passion here that makes the film feel vital even at its clumsiest.
  22. The Integrity of Joseph Chambers
    For the most part, this is an absorbing and nuanced character sketch, with a well-deployed supporting cast.
  23. Biosphere
    All the elements are there — writing, performance, themes — but there’s not enough plot to sustain a nearly two-hour feature, and as the situation escalates, it becomes clear that they don’t quite know where or how to end things, and it lands with a thud.
  24. Strays
    The swearing and gross-out humor loses its bite after a while. We’re left with an at times heartfelt and enjoyably observed story that may hold interest with more patient viewers but, due to some episodic scene work and slack pacing, leave others restless.
  25. Society
    No one who sees the last half-hour of this movie will ever forget it--though quite a few may want to.
  26. Hidden Blade
    The bluntness keeps the film from approaching greatness, although history buffs and genre fans might appreciate a World War II story told from a unique, non-Western perspective.
  27. Supercell
    If you can forgive the persistent corniness of “Supercell,” this modestly budgeted storm-chaser drama offers some surprising surface pleasures.
  28. Kill Boksoon
    Some of that professional lingo (like calling contracts “shows” and first assignments “debuts”) makes the story function as a sly metaphor for the entertainment business; and Byun’s stylish action sequences juice up the film’s second half.
  29. The Mother
    From scene to scene, Lopez and Caro do fill these broad outlines with real feeling, bringing a personal touch to old pulp archetypes.
  30. Chocolat
    Chocolat is a film of some subtlety. It has good, even memorable moments to it, and it’s beautiful looking. It is very, very, very French, which may or may not be your cup of chocolat. It is also a suffocatingly precious film, enough to try the patience of an oyster, and one that primly refuses to detonate the mounting numbers of erotic situations it sets up.
  31. Ballerina
    The Oscar nominee gives her physical all to the movie and, as a thank you, Ballerina lets her stay mostly silent so its leaden lines don’t weigh down her performance. Fortunately, De Armas has expressive eyes.
  32. The Caddy
    Norman Taurog's The Caddy is a sometimes subpar 1953 Martin & Lewis golfing comedy enlivened by a Dean and Jerry duet on "That's Amore" and a snatch of their great stage act. [22 Jul 1988, p.23]
    • Los Angeles Times
  33. Ithaka
    Ithaka isn’t as effective an advocacy doc as it could be, sometimes feeling trapped between wanting to intellectualize with onscreen text and contextualized history and looking for observational moments that crystallize the pain and concern for the Assange family.
  34. The Last Kingdom: Seven Kings Must Die
    Though “Seven Kings Must Die” suffers some from the gray palette, dim lighting and general somberness that weighs heavy on a lot of modern television, the movie delivers viscerally exciting fight scenes and a strong sense of what life was like in an ancient, unsettled world.
  35. Reggie
    There are times, though, when Stapleton’s disjointed structure is distracting. Also, by centering so much of the narrative on Jackson’s voice rather than on the people who worked alongside him over the years, the film’s perspective can feel limited.
  36. One Day as a Lion
    Nothing that happens really matters that much. Nevertheless, the movie has the kind of personality and heart too often missing from grimy little crime pictures. It’s endearingly ramshackle.
  37. Chupa
    As with the similar ‘80s and ‘90s films of director Chris Columbus (a producer on this project), the characters in Chupa are likable and memorable, with a fun dynamic. And Cuarón — the son of the Oscar-winning director Alfonso Cuarón — creates a rich sense of place here, encouraging the viewers to come to love Mexico as much as Alex eventually does.
  38. The Lesson
    In the thoroughly capable hands of Grant, Delpy and McCormack, whose interplay has been playfully choreographed to the 1-2-3 tempo of a waltz-infused score by composer Isobel Waller-Bridge (Phoebe’s sister), the film proves as pleasingly undemanding as a typical summer read: neither a legit page-turner, nor easy to put down.
  39. What the Hell Happened to Blood, Sweat & Tears?
    Scheinfeld (“The U.S. vs. John Lennon”) pieces together an evocative time capsule. Somewhat less convincing is the film’s implication that the contentious tour ultimately led to the group’s demise.
  40. The End
    Oppenheimer is after something that drives right at the heart of what a musical is. To harmonize means to agree. It’s a public display of solidarity — a pact to parrot the same delusions.
  41. Pinball: The Man Who Saved the Game
    Anyone interested in gaming history will find a lot to enjoy here; and the general niceness helps make what is essentially a fun 15-minute anecdote tolerable for 90.
  42. Once Upon a Time in Ukraine
    The fight sequences are so dynamic — and so frequent — that the 90-minute runtime flies by. This is the kind of movie that connoisseurs of over-the-top action like to seek out.
  43. Influencer
    Though the movie falls a bit short in character and theme, Harder preserves the story’s shocks by having the players remain aloof and unknowable from moment to moment, which keeps the overall picture’s meaning vague.
  44. Stan Lee
    The story being told lacks depth and insight; but it does have snap and polish, and it features a lot of astonishing art. In a way it’s a true Stan Lee experience.
  45. Cherry
    Ultimately, this film is less about her final decision than about how having these choices helps her figure out who she wants to be.
  46. Jagged Mind
    Even without its paranormal elements, Jagged Mind is a powerful portrait of the dissociation that occurs when a person tries to justify the misbehavior of someone they love.
  47. World's Best
    Director Roshan Sethi gives the musical interludes some visual pop; and the songs are genuinely hooky.
  48. AKA
    This is an ideal role for Lenoir, who handles the punching and shooting parts of action movies well, but really excels at the brooding. His Adam is aptly named; he’s a biblical kind of hero, sinning and suffering.
    • 68 Metascore
    • 60 Critic Score
    Lust for Life
    Gorgeous landscapes and paintings provide respite from the film’s overwrought emotion.
  50. The Third Saturday in October
    It’s hard not to be impressed by Burleson’s command of how old exploitation movies look and sound.
  51. Padre Pio
    For those willing to stretch a little to connect with Ferrara, Padre Pio is often as rewarding as it is challenging.
  52. Queenmaker: The Making of an It Girl
    There’s a bit of a bait-and-switch involved in Drucker’s approach; and on the whole, the film’s balance between the celebrities and the wannabes doesn’t do full justice to either. But there’s a strong point of view here, as Drucker scrutinizes an era that established a lot of the codes and aspirations of our own influencer-saturated times.
  53. The Attachment Diaries
    A rushed, muddled ending — and a general lack of any cogent point — keeps “The Attachment Diaries” from being an Almodóvar-level success. But for fans of those seamy places where art and smut intersect, this movie is a nasty little treat.
  54. Rise
    It’s a winning cast, but don’t be surprised if you think about how many commercials for good times with friends or wellness products could be excerpted from the buoyant cinematography and editing style of Rise.
  55. Persian Lessons
    That it ultimately manages to work as effectively as it does is a credit to the firm, focused visual grip of director Perelman, best known for his Oscar-nominated 2003 drama, “House of Sand and Fog,” and, especially the impressively-rooted portrayals of the two leads.
  56. Eric Larue
    Shannon laudably offers no easy solutions, although his sincerely crafted dead end feels insufficient in its own way.
  57. The Perfect Find
    More than anything, The Perfect Find is a strong showcase for Union, who gets to play a lot of notes as Jenna: funny, sexy, anxious, nostalgic, inspired. Even when the movie is too plain, its star is something special.
  58. Mending the Line
    In general, Stephen Camelio’s script, sensitive and convincing as it is, attempts to pack too much emotion, back story and metaphor into a relatively slender tale. The result is a two-hour film that would have benefited from a judicious trim, a quickened pace and less melodrama.
  59. Anchorage
    While Anchorage, like its doomed passengers, might come up short in reaching the intended destination, the existential road to not getting there is nevertheless paved with its share of inescapably persuasive intentions.
  60. Seire
    What results is a down-to-earth kind of horror movie, about the common feelings of despair fathers feel during those draining first few weeks.
  61. Wild Style
    Luckily, there's a jagged spontaneity to Wild Style that goes with the scruffy street art and culture that it celebrates. [22 May 1998, p.F17]
    • Los Angeles Times
  62. Surrounded
    Like most westerns, Surrounded is about people trying to reinvent themselves on the frontier. But this is also one of those westerns with a cynical streak, where the hostility the characters are trying to escape hounds them mercilessly.
  63. Retribution
    While Retribution is far from Neeson’s best, it still mostly works, so long as you tune out the dialogue and focus on the hero’s twitchy face, waiting to see which will blow to smithereens first: his car or his patience.
  64. Stephen Curry: Underrated
    Even if the narrative feels a little forced, the movie still works.
  65. Quicksand
    Hawco and Gaitán are gifted enough actors to give a dialogue-heavy movie some layers and dynamism; and Beltrán and Pitts throw some intense challenges at their heroes, including bad weather, a poisonous snake and a terrifying corpse.
  66. The Jewel Thief
    It’s fascinating to hear the details of how prolific Blanchard was, before the law caught up with him. If he saw a vulnerability in a store, a museum or a bank, he felt compelled to exploit it. He’s half crook, half Type-A task manager.
  67. Suitable Flesh
    Despite its bumpy execution and general thinness, Suitable Flesh boasts a playfulness that feels ripe for slicing up and serving anew.
  68. Sharksploitation
    Like the movies covered within, Sharksploitation is undeniably entertaining — especially at its most preposterous.
  69. El Conde
    As a gorgeously conceptual art-horror object, El Conde frequently mesmerizes; as a proper evisceration of its subject, it can’t help but feel curiously defanged.
  70. Nyad
    The movie, to its credit, harbors few illusions about Diana’s people skills. And it has, in Bening, an actor with a natural affinity for rough edges and sharp retorts, plus an ability to make emotional sense of a character’s fury.
  71. Godzilla x Kong: The New Empire
    There’s a harried energy to Godzilla x Kong: The New Empire, which is enjoyable until it becomes tiresome and deafening. Perhaps multiplication was too much — here’s hoping subtraction is next in the mathematical equation.
  72. Radical Wolfe
    As tributes go, the documentary is always lively. Archival clips zip by and nobody ever gets more than a sentence or two before the film cuts away, which means it never burrows in as often as you might want it to, considering the colorful, thick life on display.
  73. The Universal Theory
    Nothing in The Universal Theory is going to blow your mind, but as it plays its fastidiously crafted notes of conspiracy and chaos, you’ll know the idiosyncrasies of the art house are alive and well.
  74. Dream Scenario
    It’s amusing, up to a point.
  75. PAW Patrol: The Mighty Movie
    Throw in a whole heck of a lot of puns and sand all the edges down so everything is gently charming, inoffensive and just silly enough but not too silly to be annoying.
  76. Poolman
    Pine’s Poolman is sort of the physical, emotional and spiritual embodiment of Los Angeles itself: earnest, silly and a little (or a lot) ridiculous, but insistently charming if you decide to surrender to the experience.
  77. Widow Clicquot
    It is a worthy, if somewhat abbreviated, toast to the woman behind one of the most iconic Champagnes in the world.
  78. Good Grief
    Good Grief ultimately promises more than its starter kit of rom-com elements and good intentions can deliver. But within that inviting aura are a number of pleasures, starting with Levy’s homo-neurotic appeal as a cynically romantic gay lead.
  79. Fioretta
    A well-meaning but slapdash travelogue, Fioretta does find gratifying closure in the company that the Schoenbergs find: curators of a collective memory that won’t fade on their watch.
  80. I Saw the TV Glow
    The film invents a new emotion: passionate ambivalence. Schoenbrun’s argument might be that this is exactly the response they’re after. They’ve accomplished it, but at the expense of engagement, resulting in a collection of leaden scenes that might make the audience want to claw out of its own skin.
  81. The Actor
    It’s confounding that Johnson ignores the book’s brutal existentialism. But it’s equally fascinating that other parts of the story get their hooks in him. A novel — any piece of art, really — functions like a dream. You grab onto the bits that resonate. It’s why people can leave the same movie with totally different interpretations.
  82. The Legend of Ochi
    Writer-director Saxon’s own virtuosity, occasionally aggressive, eventually leaves our hopes for real emotions wanting, once we’ve become attuned to the dazzle.
  83. Blink Twice
    Blink Twice is a big, bold swing, even if its message becomes muddled along the way. It’s clear Kravitz wants to make a statement with this film. What’s less clear is what exactly that statement might be.
  84. The Substance
    If it weren’t for Moore and Qualley hurling themselves into the shared role, it’d be as flat as a scotch-taped pin-up. If it weren’t for Moore, I’m not even sure it would work.
  85. The First Omen
    Let’s credit debuting feature director Arkasha Stevenson (a former photographer for this paper) with the stylishness to pull off a potent sense of atmosphere and the kind of lovely period detail that deep studio pockets can fund but rarely have cause to summon.
  86. Abigail
    Abigail is at times a bit too flippant, over-the-top and even protracted in its ridiculous Grand Guignol of exploding “meat sacks,” but it’s very much in line with the unique Radio Silence sensibility, en vogue with audiences right now.
  87. Freaky Tales
    It’s rousing stuff and a bit glib.
  88. Rob Peace
    Writer-director Chiwetel Ejiofor (following up his impressive 2019 directing debut, “The Boy Who Harnessed the Wind”) proves more earnest than skillful at bringing heartfelt complexity to another tale of whiz-kid promise and resourcefulness.
  89. Tuesday
    With Tuesday, Pusić shows great promise as a visual storyteller and director of performers. Yet it is in her work as a screenwriter where the film falters. Without the power and nuance that Louis-Dreyfus brings to the role, the drama would not have nearly as much spine or impact as it does.
  90. Michael
    For all its careful evasions, I believe that the Michael this movie reveals is true and worth watching. But ultimately, it’s the music that breaks down our resistance, from the opening funk beats of “Wanna Be Startin’ Somethin’” to the climax, which essentially cues a greatest hits tape right when we know the bad times are about to begin.
  91. Superman
    This isn’t quite the heart-soaring “Superman” I wanted. But these adventures wise him up enough that I’m curious to explore where the saga takes him next.
    • 66 Metascore
    • 60 Critic Score
    Taking Venice
    The story embedded within it is an important one. A historic shift did occur. The account is well-told and worth knowing, even without conspiratorial murmurs.
  93. Y2K
    The surface pleasures of Y2K are outlandishly fun, but plot-wise, the film is structurally unsound.
  94. Farewell, Mr. Haffmann
    Thanks to its actors, there’s a credibly heavy sense of the personal prisons within literal ones that only a wretched war can foster.
  95. Star Wars: The Mandalorian and Grogu
    It’s never quite riveting enough as canon or fodder to supplant anyone’s memories of [insert favorite “Star Wars” film here].
  96. Speak No Evil
    When you won’t speak the evil of “Speak No Evil,” then a disservice has been done to the source terror and how expertly it refused to deliver us to a safe place.
  97. Armand
    The unpredictable nature of this thought-provoking tale and its unusual execution is laudable for its originality, but the ending of “Armand” troubles its strong start, with the sense that Tøndel’s assured direction at the outset has slipped as he makes his way to a strange climax and a questionable conclusion.
  98. Ladybird Ladybird
    The power of “Ladybird, Ladybird” is inseparable from its weaknesses. Loach brings us up close to the misery but, in a larger sense, he stands back.
  99. The Front Room
    The contrived third act notwithstanding, expect audiences in movie theaters to engage with The Front Room in audible gasps, one nauseating stunt at a time.
  100. Ordinary Magic
    A charming if overlong Canadian film. [01 Nov 1993, p.F8]
    • Los Angeles Times
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