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. The Christmas Chronicles
    Russell, he of the shaggy mane and those twinkly, crinkly eyes, digs into the classic role with a sleighful of energy, humor and gusto, deftly making the character his own with guidance from Matt Lieberman’s inventive, myth-bending script. His performance is a gas.
  2. Becoming Astrid
    The film’s occasional flatness of tone isn’t always well-used — these may be the raw materials for a classic Hollywood weepie, but sometimes you want to see filmmaking, not a camera pointed in the general direction of who’s talking.
  3. Roma
    Though it takes the risk of appearing too quiet too long, Roma and its melding of the personal with a glimpse of a society veering toward collapse is incontestably persuasive, a film whose like we are not likely to see again.
  4. 3100, Run and Become
    Rawal’s well-shot film is engaging — particularly for those with an interest in running and/or meditation — but the lack of balance between each of the four stories ultimately throws the film off.
  5. Philosopher King
    The jumble occupies an unfortunate space situated somewhere between the ponderously pretentious and the just plain ridiculous.
  6. The First Patient
    Underneath the layers of formaldehyde-treated flesh, there’s real heart and deserved wonder at the human body.
  7. They Fight
    They Fight, produced by Common and energized by an inspirational hip-hop soundtrack, serves as a vital reminder that often the battle can be more important than the inevitable outcome.
  8. Say Her Name: The Life and Death of Sandra Bland
    Say Her Name doesn’t have answers, but it does re-emphasize how unnecessarily tragic Bland’s death was, and why her name should be a boldfaced one in the nationwide call for police reform.
  9. Creed II
    If it lacks its predecessor’s bracing sense of emotional discovery, it nonetheless understands and impressively re-creates the chief source of that movie’s delight: a group of characters who, for all their stresses and struggles, were a warm, easygoing pleasure to spend time with.
  10. Bali: Beats of Paradise
    It’s entertaining but slight, particularly as it bulks up with the post-credits inclusion of the video.
  11. Family in Transition
    Trainin tries too hard at times to make a moving scene even more moving, undercutting the narrative, and should put more trust in the strength of the story he is telling.
  12. Trust Machine: The Story of Blockchain
    The movie engagingly outlines blockchain’s role as the underlying technology behind such digital currencies as bitcoin (which gets its own dissection), plus its growing part in accounting practices, music industry payments and renewable energy markets.
  13. Team Khan
    If your taste for athletic snapshots has tired of tales of the troubled, Khan’s at least smoothly offers someone as comfortable being a Muslim hero and family man as he is a fast-jabbing contender.
  14. The Waldheim Waltz
    How this all played out in terms of the Austrian election will surprise no one, but seeing how much the situation came to prefigure the contemporary house of mirrors in Europe as well as America still comes as something of a shock.
  15. The Long Dumb Road
    Neither long nor dumb, Hannah Fidell’s The Long Dumb Road is in reality a terrifically entertaining odd couple road comedy expertly navigated by costars Tony Revolori and Jason Mantzoukas.
  16. Chef Flynn
    Yates’ verité collage approach naturally leads to an elliptical narrative. But it occasionally feels frustratingly indulgent, like being cornered in a one-way conversation where you can’t ask a question.
  17. Jinn
    Jinn is a familiar story, told in a cultural context rarely depicted on film, and Mu’min’s approach is so lyrical and empathetic that it feels completely fresh and new. It’s a remarkable film with sensitive and stirring turns by Renee and Missick in the mother-daughter roles.
  18. Under The Wire
    Under the Wire brings a vivid immediacy to this tragic event. Conroy speaks candidly to the responsibility that he feels to survive and to tell the stories of the others, a task that he will carry with him for the rest of his life.
  19. The Last Race
    The Last Race is a high art film about a blue-collar subject, and that unlooked-for ability to see beauty in the everyday is what makes it both a surprise and a success.
  20. Green Book
    Green Book is a savvy and super effective piece of popular entertainment.
  21. Speed Kills
    At every turn in Speed Kills, director Jodi Scurfield and a team of screenwriters sand the edges off a complicated, multi-decade saga, making a featureless knockoff of seemingly every sweeping true-crime movie of the past three decades.
  22. Welcome Home
    Strong lead performances by Aaron Paul and Emily Ratajkowski are squandered in Welcome Home, a low-tension suspense picture with pretensions of saying something profound about broken relationships.
  23. Cam
    On a narrative level, Mazzei and Goldhaber don’t come up with enough ideas for how to capitalize on their hooky premise. But on a character level? The filmmakers and Brewer capture the mounting existential anxiety of a woman who’s constructed an entire identity on-line and is horrified to see that it can keep on living without her.
  24. Mobile Homes
    While the story’s a little shaky, Poots is outstanding; and de Fontenay has a terrific eye for the details of a drifter’s life, shuffling from hovel to hovel, never able to scrape up enough cash to sleep comfortably.
  25. The Clovehitch Killer
    Skiles keeps the film’s pacing slow, which at times builds tension, at times makes everything feel more off-kilter, and at times is … well, just slow. Mostly the director and his superb cast use the extra time to explore the nuances of Ford’s tale of sick compulsions and social pressures.
  26. Ruben Brandt, Collector
    An acrobatic, larkish globetrotting adventure about paintings and psychotherapy that defies easy categorization save inclusion on any adult animation fan’s must-see list, its slinky, colorful pleasures and wittily referential joie de vivre are like a lifeline in a season when the art house is typically beholden to severe, award-seeking bids to depress you.
  27. Madness, Farewell
    Madness, Farewell is best when introducing viewers to Liza’s simultaneously dark and sunny world, but later it turns into more of a standard quirky indie than its premise suggested.
  28. Who Will Save the Roses?
    Individual moments work, but there’s little to tie them together in a cohesive narrative.
  29. A Cool Fish
    Director Xiaozhi Rao’s facility with behavioral extremes that disguise the hardships of life in modern China is a scattershot mix of the Tarantino-esque and melodramatic, with bursting pop songs and visual tricks filling in any perceived gaps in logic or attention.
  30. Jonathan
    While Elgort, whose big breakout role was in last year’s “Baby Driver,” does a decent job of delineating the two characters and Patricia Clarkson reliably comes through as their sympathetic doctor, the clinically distancing production never forms a meaningful bond with its audience.
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