Los Angeles Times' Scores

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For 16,531 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 2.2 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: 8,702 out of 16531
  2. Mixed: 5,812 out of 16531
  3. Negative: 2,017 out of 16531
16531 movie reviews
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  1. Default
    Default successfully turns a global financial crisis into a movie that’s at once engaging and educational.
  2. Ghostbox Cowboy
    The film’s as eclectic as it is eccentric, and it stays true to its own twisted sense of poetry, all the way to an epilogue that’s somehow even odder than anything that came before.
  3. DriverX
    The acting throughout is excellent; and it helps that Barrial isn’t playing Leonard’s predicament for cheap laughs or amped-up drama. Instead, he’s documenting what it’s like these days, to try and find some meaning in life while scrounging all night long, terrified to miss whatever meager scraps are being tossed.
  4. Stadium Anthems
    Its incoherent script is packed with more “Star Wars” references than Kevin Smith’s entire oeuvre, but none of the laughs.
  5. Sex Weather
    The script has a certain memoiristic quality that would edge into self-indulgence if McGhee and Stonebraker weren’t such warm and disarming presences on screen.
  6. Meow Wolf: Origin Story
    Other than showing moments of in-fighting, Meow Wolf: Origin Story is an almost entirely positive exploration of the collective and their art — but it’s an effective one.
  7. Invisible Hands
    The lack of a strong narrative through-line makes for a film that is informative but dry. Nevertheless, it is an urgent plea for us all to make conscious choices in our consumption.
  8. Song of Back and Neck
    The story...never comes together as a satisfying whole, even if it all proves relatively painless viewing.
  9. Elliot: The Littlest Reindeer
    This fantasy, about a miniature horse aching to join Santa’s team of reindeer, works hard but underwhelms.
  10. Anna and the Apocalypse
    In the Christmas zombie teen musical Anna and the Apocalypse, a whole lot of genre is stuffed into one neat little package, and happily, giddily, it is perfectly executed, landing like a triumphant triple axel splattered in gore, and wrapped in tinsel.
  11. Mowgli: Legend of the Jungle
    The abiding darkness and occasionally graphic visuals will likely reduce its appeal as talking-critter family fare — think growling nighttime campfire tale instead of sun-dappled spectacle — but it makes for a welcome swerve from the Mouse House’s fun-zone approach to these timeless stories.
  12. Spider-Man: Into the Spider-Verse
    It’s terrific — a quick-witted entertainment, daring and familiar by turns, that also proves to be sweet, serious and irreverent in all the right doses.
  13. The Perfect Kiss
    Billed as a romantic comedy but really a farce, The Perfect Kiss is the perfect example of a movie that is so bad it’s … no, not good, just terrible.
  14. Miss Dalí
    Despite scads of stiff exposition and constant proclamations of Salvador’s genius, the brash, eccentric, weirdly mustachioed artist remains an elusive and puzzling force. That he’s played, unconvincingly from teen years to death, by an often annoying Joan Carreras doesn’t help.
  15. Postcards from London
    Despite a skillful use of color, lighting, framing and music, the movie’s artificiality might have played in a short film but becomes tedious and pretentious when stretched to 90 minutes.
  16. Amazing Grace
    Aretha Franklin didn’t transcend the gospel or gospel music; as first her album and now this marvelous documentary remind us, she did more than most to fulfill its potential for truth and beauty, devotion and art.
  17. Shoplifters
    This wise and insightful film is delicate, poignant and unexpectedly powerful.
  18. 8 Remains
    8 Remains has a cool premise, but director Juliane Block and screenwriter Laura Sommer (with dialogue assistance from Wolf-Peter Arand) treat it more as a metaphor than as a storytelling opportunity.
  19. 12 Round Gun
    The characters and story take a backseat to the movie’s message — which is as subtle as a roundhouse punch.
  20. Texas Cotton
    The cast of Texas Cotton is good company, and the location’s a nice place to hang out for an hour and a half. But all these nice folks are worthy of more than such a flat, featureless story.
  21. Tinker'
    By the time the Tinker fantasy elements kick in, they seem more like an afterthought than the reason this movie was made in the first place.
  22. Astral
    With scares at a minimum, Astral relies heavily on its young cast, who are all likable and charismatic. Dillane and Idris and the others are undoubtedly destined to appear someday in movies and TV shows far more memorable than this one.
  23. The Cleaners
    The Cleaners makes clear how when it comes to the Internet, the more private corporations decide what we all get to “like,” the worse off we’re all going to be.
  24. The World Before Your Feet
    [An] enlightening, life-affirming documentary.
  25. Of Fathers and Sons
    The nuances in Derki’s portraits are what deepen the elements that could easily have been a distancing turnoff.
  26. Roll With Me
    Roll with Me avoids the tropes that narratives about people with disabilities often offer, instead giving a fully developed picture of a man who wants his family to be proud of him and his accomplishments.
  27. The Long Shadow
    Causey deserves real credit for reckoning not only with America’s legacy of slavery and prejudice, but also examining her own ancestors’ specific roles in the racist treatment of African Americans.
  28. Narcissister Organ Player
    This film quickly reveals itself to be a beautifully heartfelt and poetic tribute to the filmmaker’s mother.
  29. The Favourite
    Most of all you remember Colman, in a performance that achieves its power, in no small part, by utterly destroying our understanding of what power looks like. She beams and scowls, brays and bleeds, shatters and disintegrates. She rules.
  30. Shoah: Four Sisters
    These four, like so many others, opened up to Claude Lanzmann, and the results speak eloquently for themselves.
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