Los Angeles Times' Scores

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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
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  1. The Final Master
    Writer-director Xu Haofeng’s movie doesn’t feel like many other movies of its ilk. That’s mostly a good thing, even if the movie can’t quite fit all its eccentric pieces into a satisfying whole.
  2. Gimme Danger
    The Stooges were postwar kids who took to the stage with fearless, demented exuberance, Iggy writhing half-naked. With Gimme Danger, Jarmusch doesn’t ask him to strip down further. He simply thanks him.
  3. El Conde
    As a gorgeously conceptual art-horror object, El Conde frequently mesmerizes; as a proper evisceration of its subject, it can’t help but feel curiously defanged.
  4. Arco
    At its best, when theme and visuals are in sync, Arco has the easy charm of something half-remembered from one’s cartoon-packed youth: beguilingly earnest and awkward in equal measure.
    • 72 Metascore
    • 80 Critic Score
    Fantastic Voyage
    From our current vantage point, the film's appeal has less to do with surrealism than nostalgia. It's a movie that potently evokes bygone attitudes and aesthetics -- a relic of the age of pre-digital effects, a product of both Cold War paranoia and midcentury techno-utopianism. [03 Jun 2007, p.E19]
    • Los Angeles Times
  6. I Served the King of England
    The new film is so leisurely paced and overly long that what means to be at once charming yet darkly satirical lapses into tedium and barely comes alive.
  7. Gangs of New York
    Scorsese and his team have created a heavy-footed golem of a motion picture, hard to ignore as it throws its weight around but fatally lacking in anything resembling soul.
  8. The Ballad of Ramblin' Jack
    A warm and feisty documentary that is as much inquiry as it is tribute.
  9. Felicia's Journey
    One of the year's riskiest yet most effective films.
  10. The Rookie
    The pleasure of a film like this is not in wondering where it's going to go, but in knowing its exact trajectory. Getting us to pull for a foregone conclusion as if the outcome was in serious doubt is no small sleight of hand.
  11. Nowhere in Africa
    This is an intelligent epic told without special pleading, a film able to cut deep enough to reveal a keen specificity of experience.
  12. The Vertical Ray of the Sun
    A wholly enveloping experience. Gentle, ravishingly beautiful and awash in everyday sensuality, it so intoxicates you with the elegance and refinement of its filmmaking that even noticing, let alone caring, whether it has a plot starts to seem beside the point.
  13. A Beautiful Mind
    There is more to admire in A Beautiful Mind than you might suspect, but less than its creators believe. When the film does succeed, it almost seems to do so despite itself.
  14. Slow West
    Between the gorgeous locations (New Zealand subs for Colorado), a credible emotional core, some effectively droll dialogue and a well-staged finale, Slow West is worth a look.
  15. Barry
    In some ways, Barry the film takes its personality from Barry himself. Always pleasant and companionable but a little pro forma in its early going, it gains in texture and interest as Obama's life and his reaction to it get more complex.
    • 72 Metascore
    • 80 Critic Score
    Mister Roberts
    A brilliant mixture of laughter and pathos with delightful performances from Fonda, James Cagney, William Powell (in his last role) and Jack Lemmon, who received an Oscar as the enterprising Ensign Pulver. [24 Dec 1998, p.F12]
    • Los Angeles Times
  17. A Compassionate Spy
    This absorbing, thoughtful film doesn’t take sides; that’s not James’ way.
  18. The Beatles: Eight Days a Week - The Touring Years
    The music is so strong, and such a demonstration of how potent the group was in action, that it alone makes the film worth seeing.
  19. Midsommar
    The spell that it casts is bright, dreamy and absorbing, but it is also in no particular hurry to come into focus, which makes its aftereffects all the harder to shake.
  20. Un Flic (re-release)
    Though not among Melville's classics, Un Flic is a pleasure to experience.
  21. He Never Died
    He Never Died isn't as fleshed out as it could be, but what the film lacks in vivid supporting characters and rich plotting it gets back from Rollins, whose innate charisma carries the film.
  22. The Crow
    Lee has phenomenal presence, and his movements are so balletically powerful that his rampages seem like waking nightmares. Lee keeps you watching The Crow when you'd rather look away.
    • 72 Metascore
    • 80 Critic Score
    The Stepfather
    It's an icy parody of suburban bliss, featuring the kind of proud pop who gets his kicks from loving his family to death. [23 Jan 1987, p.15]
    • Los Angeles Times
  24. The Dark and the Wicked
    It isn’t exactly terrifying, but is well-acted and sinister enough to rise (levitate ominously?) above the pack.
  25. The Woodsman
    The film's core, anchored by a fine ensemble cast and a controlled, focused performance by Bacon, is completely solid.
  26. Society of the Snow
    Bayona mixes a sense of survivalist adventure with an otherworldly spirituality — the idea that they were somehow touched by something bigger, but also that the answers to what they needed were there with them all along.
  27. Summertime
    Artfully calculated and authentically felt, the unexpectedly effective Summertime combines the conventional structure of classic movie romance with a sensual same-sex frankness that couldn't be more up-to-date.
  28. Die My Love
    Hurling herself into every scene, Lawrence puts her full faith in Ramsay. It’s not a trust fall so much as a trust cannonball. As good and committed as Lawrence is, there were times I wanted to rescue her from her own movie, to protect her from the fate of Faye Dunaway when “Mommie Dearest” turned another blond Oscar winner into a joke.
  29. Is This Thing On?
    The actors sell it, especially when Dern is unafraid to mix revitalized pleasure with pushing for answers. But the stand-up storyline, so promising, is dropped and it feels like a missed opportunity. Still, the highs and lows of marriage aren’t merely a punch line in “Is This Thing On?” — and that’s good.
  30. Shame
    It is Mulligan and most especially Fassbender that give the film its power. The desperation, hostility and despair he conveys through the act of sex make Shame a film that is difficult to watch but even harder to turn away from.
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