Los Angeles Times' Scores

Select another publication »
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
view
per page
  1. The Beta Test
    Ghastly humor coated in serrated-edged commentary on corrosive power creeps in through Jordan’s yearnings for a world before online accountability.
  2. Evil Dead II
    Evil Dead 2: Dead by Dawn never lets up, continually introducing new characters and adding new thrills and chills right up to the last frame… A terrific trip, although admittedly not one that everybody would enjoy taking. [13 Mar 1987, Calendar, p.6-14]
    • Los Angeles Times
  3. 50/50
    As a comedy about a young man with cancer, it needs to be serious enough to be real as well as light enough to be funny. Though it falls off the wagon at times, it maintains its balance remarkably well.
  4. Waiting for Guffman
    A sly and gleeful comedy showcase that pokes clever fun at the American musical, amateur theatricals and anything else that's not nailed down.
  5. Boom for Real: The Late Teenage Years of Jean-Michel Basquiat
    Basquiat's energetic brilliance is mourned as much as revered in "Boom for Real," which ends with his cannon shot into the money-mad, drug-fueled '80s. What lingers, though, is a heartfelt reminiscence for what's memorable about emergent talent, the spark that precipitates the well-fanned blaze.
  6. Super 8
    This melding of two cinematic sensibilities, though effective at moments, is finally not as exciting or involving as it we'd like it to be.
  7. War Horse
    Has the sweep of a classic John Ford movie, the sentiment of Frank Capra and a spirited steed named Joey who will steal your heart. The film itself is more difficult to love.
  8. East of Eden
    Not only one of Kazan's richest films and Dean's first significant role, it is also arguably the actor's best performance. [10 June 2005, p.E12]
    • Los Angeles Times
  9. The Untamed
    Escalante draws remarkable performances out of his cast of mostly newcomers in this film about the consequences of pleasure and the many meanings of flesh; where animal intelligence fills the void left by emotional disconnect.
  10. The Aristocrats
    There's something about professional comedians breaking down what's funny for civilians that gets annoying after a while.
  11. Easy A
    Neither as smart nor as funny as it wants to be. With the verbal-cleverness dial set at 11, the teen comedy wears its glib cultural references - pop and 19th-century literary - in boldface embroidery.
  12. The Eagle Huntress
    As unlikely as it is enchanting, The Eagle Huntress tells its documentary story with such sureness that falling under its sway is all but inevitable.
    • 72 Metascore
    • 50 Critic Score
    El Camino: A Breaking Bad Movie
    El Camino isn’t horrible, but it’s not commendable either, and given the legacy of “Breaking Bad,” mildly entertaining isn’t good enough.
  14. Zheng hun qi shi
    Director Chen Kuo-fu adds a refreshingly wry humor to this view and then deftly throws in some wrenching moments and an ultimately astounding final twist.
  15. The Mother
    Every element of The Mother, directed by Roger Michell and written by Hanif Kureishi, fits together with perfection. The film's staging -- the way its settings create a world that allows for striking images that echo the psychological interplay of its people, the way in which every performance could not be any better -- is awe-inspiring.
  16. Censored Voices
    Censored Voices is a soul debriefing of sorts. The soldiers' tales of killing the captured and uprooting entire villages lead them to question whether the war was more about expansion than survival.
  17. The Oath
    Jandal emerges as someone who was truly in Bin Laden's inner circle, Hamdan seems the menial driver he claimed to be. What remains unanswered is where their allegiances now lie. Frightening or not, terrorists or not, both seem human, which at the end of the day is what Poitras set out to do.
  18. Priceless
    A cynic is someone who knows the price of everything and the value of nothing, or so the saying goes, but the unadulterated joy Irène takes in throwing open the closet door to show Jean how this gold digging is done is positively infectious.
  19. Transsiberian
    Mortimer gives a terrifically keyed-up performance that is nicely complemented by the wholesomely chipper Harrelson, who seems to be drawing inspiration from Fred MacMurray's gallery of Disney dads.
  20. Charlotte Sometimes
    Would that all love stories were as sophisticated and amusing as the satisfying Charlotte Sometimes.
  21. Down and Out in Beverly Hills
    For all its genuinely funny moments and its mix of outrageousness and insights, Down and Out remains curiously unsatisfying in the way it resolves the Nolte character.
  22. Heathers
    Unfortunately, director Michael Lehmann's point of view is swivel-mounted: He doesn't have the courage of his cynicism. [31 Mar 1989]
    • Los Angeles Times
  23. Beauty Is Embarrassing
    As one observer here aptly - and non-hyperbolically - sums it up, White is "a founding father of the current state of pop art."
  24. Old Stone
    [A] stunningly assured, darkly gripping first feature.
  25. Candyman
    DaCosta, who made her directorial debut with the remarkable abortion drama “Little Woods,” firmly announces herself as an artist at work with Candyman, a genuinely terrifying and artful horror film that speaks with a bell-clear voice to the current moment, the product of centuries of racist power structures.
  26. If God Is Willing and da Creek Don't Rise
    Lee has sacrificed some clarity for inclusiveness; this is the document as monument, artful and rough by turns, and determined to be as big as its subject.
  27. Golden Exits
    This exquisitely textured ensemble portrait is a gentler, more forgiving piece of work, not least because the filmmaker's jabs — and his sympathies, such as they are — feel more evenly distributed.
  28. First Position
    These performers are so young, so serious, so full of dreams and so hard on themselves that it is difficult not to be moved by their striving.
  29. Dungeons & Dragons: Honor Among Thieves
    The film’s affable nature and the sheer charisma oozing off Pine and Grant is intoxicating, but overall, there’s a sense that it doesn’t quite gel, the engine revving but never hitting the speed of which it seems capable.
  30. Pusher
    The film practically vibrates with youthful aggression, sly humor and gathering tension, hurling itself forward like a junkie toward the next fix.
Page:

Top Trailers

See all »
See all trailers »