Los Angeles Times' Scores

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For 16,532 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 16532
  2. Mixed: 5,813 out of 16532
  3. Negative: 2,017 out of 16532
16532 movie reviews
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  1. High Voltage
    Clumsy and corny, the film plays like a pat showbiz cautionary tale, half-heartedly reworked into lurid pulp.
  2. Galveston
    Director Mélanie Laurent and actors Ben Foster and Elle Fanning bring some seedy poetry to Galveston, a muted crime drama that runs out of plot too soon, but makes up for it with powerhouse performances and a finely shaded sense of place.
  3. London Fields
    The aggressively awful London Fields is, once again, proof that not every successful novel should become a movie.
  4. The Super
    Well-made but generic, the thriller The Super is noteworthy primarily for featuring one of Val Kilmer’s first substantial roles since recovering from throat cancer. Director Stephan Rick works around the actor’s infirmities, but Kilmer’s offbeat charisma remains unmistakable.
  5. The Big Bad Fox & Other Tales
    In divisive times, Pig and his friends, who consist of maybe a dozen drawn lines apiece, provide much-needed laughter in the tradition of the great Warner Bros. cartoons.
  6. Wildlife
    Mulligan's performance is too specific and too wrenching to be reduced to a mere generational statement. This is her most fully formed role since her performance in another early '60s piece, the British coming-of-age drama "An Education," and in some ways it feels like a rejoinder, perhaps even a corrective.
  7. Can You Ever Forgive Me?
    Can You Ever Forgive Me? demands not our love for this supremely difficult person but rather our respect for her defiance of an unsympathetic world. With such an impeccable presentation of such an intransigent personality, it is hard to deny her that.
  8. Halloween
    With a canny balance of empathy and exploitation, Halloween treats its heroine’s lingering trauma with surprising emotional realism and only a hint of comic exaggeration.
  9. Apostle
    Shifting his energies to a Victorian-era island blood cult hasn’t dimmed Evans’ taste for feverish body harm, but it’s more clearly laid bare his narrative shortcomings.
  10. After Everything
    With real soul and gravitas, Marks and Power craft romantic drama that demonstrates that life’s hardest challenges can come at any age.
  11. Moynihan
    [A] crisp, engaging documentary.
  12. Bill Coors: The Will to Live
    The prescription of rest, meditation, exercise and nutrition is not exactly fresh, but Coors’ story is inspiring and the message that mental, physical and spiritual health are inextricably linked is one we cannot hear often enough.
  13. Beautiful Boy
    The detachment at work in Beautiful Boy suggests an attempt to speak clearly and truthfully, to resist the clichés of the addiction drama while acknowledging that those clichés can hardly be rewritten.
  14. The Queen of Hollywood Blvd
    The movie’s artier components are imbued with enough heart and poetry to hold the picture together — just barely — through the more tedious stretches.
  15. Bigger
    Director George Gallo, taking a cue from his 1991 film, “29th Street,” romanticizes everything in a nostalgic glow, but without a sturdier script featuring fully dimensional characters at his disposal, the performances prove to be as unconvincing as their ethnic accents and period wigs.
  16. Stella's Last Weekend
    Among all the loquacious chaos, Nat steals the film with the quieter performance as the pained, soulful and deeply feeling Jack.
  17. Wobble Palace
    This isn’t an idealized version of romance or L.A. millennials; Kotlyarenko and Nekrasova shine a glaring iPhone flashlight on their characters’ — and their generation’s — flaws.
  18. Look Away
    Bernstein stages a few good, tense moments in the film’s second half — in particular a skate-chase scene on an iced-over stream — but Look Away mostly fails as a “killer teen” movie. The pace is too slow, and the mood too somber.
  19. Gosnell: The Trial of America's Biggest Serial Killer
    The film adopts a sanctimonious tone that’s anything but subtle.
  20. Better Start Running
    An accomplished cast does what it can to bring the material to life, but it’s tough to add fine emotional shading to characters so thick and cartoonish.
  21. Studio 54
    Ultimately, Studio 54 proves a nostalgic, sometimes wistful, other times unsettling look back at a singular period of time.
  22. All Square
    A good supporting cast — including Isiah Whitlock Jr., Harris Yulin, Tom Everett Scott and Josh Lucas as a hindrance to John’s plans — gives Kelly much to play off, but the story is too rote to get worked up about any of the conflicts.
  23. The Kindergarten Teacher
    The Kindergarten Teacher may offer a less audacious, more stylistically muted version of its predecessor, but by the time its quietly perfect final shot arrives, the movie has reached the same provocative conclusion. It’s not poetry, exactly, but it’s pretty shattering prose.
  24. I Still See You
    Once all the pieces are in place, the film becomes a more conventional and less interesting thriller, with a single violent villain the heroes have to overcome.
  25. The Sentence
    What unnecessary imprisonment does to families is often written about in abstract terms, but to see what it did to one specific family runs an emotional gamut that the patience of this heroically committed filmmaker does full justice to.
  26. Sadie
    While the pace of “Sadie” meanders and is often a bit pokey, the excellent cast, including Danielle Brooks as Carla, the local bartender and Rae’s best friend, brings your attention fully to the dramatic goings-on in this tiny community.
  27. 306 Hollywood
    The need to make an ordinary life extraordinary is so prevalent it smothers any genuine emotion from family members losing a loved one.
  28. MFKZ
    MFKZ is obviously modeled on Katsuhiro Ôtomo’s “Akira” and Taiyô Matsumoto’s “Tekkonkinkreet,” but it lacks the gritty brilliance of the former and the underdog poignancy of the latter.
  29. Bad Times at the El Royale
    Truth be told, I don’t much mind the version of Bad Times at the El Royale we have before us. Even if, with its multi-chapter narrative and time-skipping plotlines, its mix of verbal longwindedness and abrupt violence, the movie initially seems to warn of a terminal case of Tarantino-itis: an El Royale with cheese.
  30. The Happy Prince
    It’s a film of decided care and forethought.
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