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. Silencio
    While Silencio could be fascinating sci-fi, it’s bogged down in all the family drama.
  2. Shirkers
    A knotty detective yarn, a funny valentine to Singapore and one of the year’s most ardent expressions of movie love, it tells a story of cinematic theft, and in the process, becomes an entrancing feat of cinematic reclamation.
  3. Bullitt County
    Although a third act reveal doesn’t quite pack the intended punch, Bullitt County nevertheless propels its characters in some unanticipated, intriguing directions.
  4. The Dark
    The Dark clicks (which is often), it’s a moving and poetic tale about how neglect and abuse can turn people into freaky beasts, and how love can bring them back.
  5. Dovlatov
    A dreamy, compelling, often wry look at a writer.
  6. Suspiria
    By the time the phantasmagorical finale arrives, you are flooded with blood and viscera, yes, but also something even more unsettling — a sudden onrush of feeling, a deep, overpowering melancholy.
  7. On Her Shoulders
    On Her Shoulders is an intimate, empathetic documentary, made with discretion and power.
  8. 1985
    Chiklis is first-rate as Adrian’s tough, deceptively aware Vietnam-vet father, while Madsen’s gentle, luminous portrayal of a deeply adoring mother is heartbreakingly authentic — and utterly award-worthy.
  9. Don't Go
    The idea of human memory as a kind of time machine is powerful, and writer-director David Gleeson and his co-writer Ronan Blaney make it pay it off well in their movie’s final 10 minutes. It’s the preceding 80 that are the problem.
  10. Life and Nothing More
    It’s a vital, singularly crafted film that simply tells it — or more specifically shows it — like it is through the eyes of a struggling African American single mother and the adolescent son she desperately wants to keep out of trouble against the mounting odds.
  11. The Advocates
    A straight-ahead but affecting documentary that acknowledges the stubborn obstacles inherent in their efforts to make a difference.
  12. Lots of Kids, a Monkey and a Castle
    What Salmerón is after, however, is a simple portrait of hilarious exuberance, hard-won togetherness and strange wisdom. That search yields results.
  13. Fail State
    It’s an appalling, infuriating story.
  14. Big Kill
    Problem is, filmmaker Martin can’t seem to decide whether he’s making a tribute or a send-up, and the overlong, yet under-plotted, results, with awkward close-ups and prolonged, flatly delivered exchanges, take their toll.
  15. Transformer
    Transformer beautifully captures the process of Janae crafting her own sense of femininity, unique to who she was and who she continues to be.
  16. Travel Ban
    The film covers a great deal of honest, funny and timely ground, though be prepared to revisit some of Bush and Trump’s “greatest hits” via a rehashing of archival news clips.
  17. Reach
    The story veers off track, and Rokesh can’t cleanly execute the wild tonal shifts and haphazard story beats.
  18. Late Life: The Chien-Ming Wang Story
    Ultimately, it’s an inspiring account of an elite athlete with the tenacity (and resources) to battle adversity and keep his dream alive.
  19. Brampton's Own
    It’s better than a number of indie films in its craft — particularly the thoughtfully composed cinematography from Kieran Murphy — but a flawed script ultimately keeps it from eking out a win.
  20. Change in the Air
    The gentle drama Change in the Air is buoyed by its sweet spirit and a strong cast, but it ultimately tries too hard to win our affections.
  21. An Evening with Beverly Luff Linn
    At nearly two hours, An Evening With Beverly Luff Linn grossly overstays its welcome, but the Hail Mary ending proves it to be a rather sweet and tender story about love lost and found in the unlikeliest of places.
  22. Watergate
    Though this look back is formidably researched and should appeal to both obsessives and the uninformed, it’s the insistent echo to our present upheaval, and the refreshing reminder that a polarized nation only got more unified in its desire for the truth, that gives “Watergate” its peculiarly of-the-moment power.
  23. Thunder Road
    Cummings’ achievement is too singular to be reduced to a simple political reading; and in much the same way, Jim’s hard-won final scene is too ambiguous to be read as either celebration or damnation. If, by that point, there’s even any meaningful difference.
  24. The Guilty
    If the setting of The Guilty couldn’t be simpler, its immaculate execution by first-time director Gustav Möller couldn’t be more gripping and involving.
  25. Charm City
    Even when the epidemic of violence touches a beloved character, Ness’ careful quilting of compassion and action across her years of filming suggests a fight that won’t diminish for these citizens.
  26. Liyana
    The children’s stories alone would have been compelling, but illustrating them in this medium adds even more depth, nuance and emotion.
  27. The Great Buster: A Celebration
    The Great Buster briskly takes us through the stations of Keaton’s eventful life and career, mostly going the expected chronological route with one key exception.
  28. What They Had
    The radiant Danner, one of the greats, is perfection here, while Forster gives a stunning, Oscar-worthy turn as a man struggling to hold onto a blissful past to ward off a frightening future.
  29. Mid90s
    Mid90s possesses just enough sensitivity and feeling to make you wish it had more. Hill’s script aims for, and often achieves, a fleeting, fragmentary portrait of group dynamics, but it’s stymied in its attempts to distinguish Stevie’s pals as individuals rather than types.
  30. Nigerian Prince
    When the stakes are raised, ho-hum thriller plotting takes over and Okoro struggles to clarify what his characters want. By the end, everyone’s motivations are fuzzy and the promise of a uniquely complex story of cross-cultural education, opportunity and morality has withered.
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