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. The Day After
    The machination is comic, and the repercussions carry the awkward tinge of threadbare farce, but the vibe is pure melancholy, echoed in the clinically beautiful monochromatic cinematography and the tinny, weeping musical phrase Hong often leans on to close his extended takes of dialogue.
  2. Cold Water (1994)
    Drawn from the director's personal memories of post-1968 excitement and disillusionment, the drama moves from surging emotional highs to melancholy lows, but it also pulses with a vibrant, moody energy that a 24-year delay from American screens has done nothing to diminish.
  3. Pope Francis - A Man of His Word
    The result doesn't feel evasive so much as vaguely incurious, and its focus on the message over the man himself can be as impressive in its single-mindedness as it is frustrating.
  4. Carter & June
    This crime spree may have style to spare, but that's about all that's holding it together.
  5. Book Club
    This movie is either in your wheelhouse or it's not, but for those looking forward to Book Club, it delivers. For what it is — a breezy bit of Nancy Meyers-like fantasy, featuring four beloved actresses talking about sex, baby — it's exceedingly enjoyable.
  6. Champion
    There's little in the underdog sports dramedy Champion that feels vital, aside from its star.
  7. Dark Crimes
    Carrey's quietly exacting, uncharacteristic performance, though not qualifying as a saving grace, hints at some promising new career directions in the same manner Robin Williams successfully tapped a darker side with "One Hour Photo." All Carrey needs now is a better film.
  8. Always at The Carlyle
    Each moment in Always at the Carlyle feels like a pitch. Though it's effective in presenting the hotel's appeal, the salesman's greasy fingerprints linger, a stain which would never be welcome at the pristine spot.
  9. Cargo
    Co-directors Ben Howling and Yolanda Ramke (the latter of whom wrote the screenplay) sacrifice some tension with their more character-based approach, but the cumulative effect is emotionally powerful.
  10. Solo: A Star Wars Story
    Ehrenreich isn't given much to work with here, but his sly comic reserve and devil-may-care attitude give you reasons to keep watching, well after the story has stopped doing anything of the sort.
  11. Deadpool 2
    In Deadpool 2, the manic antics fly fast, but the franchise loses its edge as wise-cracking antihero Deadpool goes dadcore, attempting to infuse standard-issue four-quadrant studio blockbuster beats into what was once a revolutionary R-rated premise.
  12. The Gardener
    This is a soothing and transporting journey sure to inspire gardeners of all stripes to create their own slice of heaven.
  13. Welcome to the Men's Group
    The endless sharing and chaotic conflicts that ensue among these largely uninviting men prove more tedious than convincing, with flashback bits that are more redundant than enlightening.
  14. Lu Over the Wall
    Yuasa's bold imagery and sometimes convoluted storytelling defy the conventions of traditional animated filmmaking, but he is clearly an artist with an individual vision whose work offers something genuinely new and eye-catching.
  15. Beast
    Pearce, in his feature directing debut, proves himself a solid craftsman, with a gift for giving even derivative story elements a nerve-jangling tweak. He also has a shivery way with ambiguity, a knack for toying with our expectations and turning the power of suggestion to his advantage.
  16. 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.
  17. Revenge
    This rape revenge story swaps points of view, but it doesn't break the mold. The characters, archetypes and beats are familiar, which allows Fargeat to play with symbolism in a bold, pointed manner.
  18. Life of the Party
    To complain that nothing much happens here or ponder the film's curiously tame view of university life (Rodney Dangerfield would most definitely get no respect here) is to miss the point of the movie, which is to serve as a vehicle for McCarthy, spotlighting her warm, screwball spirit and irrepressible physical comedy.
  19. Goodland
    Doke's cast of unknowns has trouble bringing a convoluted plot to life. As it unfolds, Goodland stacks up more preposterous B-movie notions than Doke's thin script can support.
  20. Another Kind of Wedding
    At its best, Another Kind of Wedding understands how hard it can be for families to look past their own burdensome self-mythology, to see each other again as just people.
  21. The Desert Bride
    The Desert Bride is nothing complicated, but in its unforced humanity, visually poetic landscapes and agreeably metaphoric storytelling suggests the intimate pleasures of a well-turned short story.
  22. Hitler's Hollywood
    A fascinating film that is as thorough as it is idiosyncratic.
  23. The Guardians
    The Guardians is an intimate French epic, elegantly made and quietly emotional, a family story filled with characters whose lives we sink into, feeling the hope, the sadness, the sorrow and the joy right along with those on the screen.
  24. The Assassin's Code
    The Assassin's Code features a few plot twists, but none surprising. The situation and the characters are just too stock.
  25. Born Guilty
    The key to every successful comedy, romantic and otherwise, is having central characters who are likable or at least relatable to some degree. It's a basic concept that's lost on writer-director Max Heller's Born Guilty, a shrill urban relationship satire whose lead protagonists are so insufferably self-centered and whiny, there's little hope for redemption.
  26. Measure of a Man
    While it might not bring much that's new to the coming-of-age playbook, British filmmaker Jim Loach's sensitively-observed dramedy, Measure of a Man, offers decisive proof that fresh and different is overrated when you've got a strong cast, a beautifully written script and fittingly measured direction.
  27. Anything
    Anything wants to be an unconventional love story but gets distracted by other subplots, and McNeil doesn't take the time to develop what becomes the central story line. Still, it's a fine showcase for a softer side of the always excellent John Carroll Lynch.
  28. The Escape
    Thanks to Savage's immersive, often improvisational approach and a compellingly raw, internal turn by Arterton ("Gemma Bovery," "Their Finest") as an everyday woman who seemingly has it all... Tara's claustrophobic world and increasingly checked-out mindset feel undeniably authentic. It's also all a bit grueling to watch.
  29. The Seagull
    Although the action, set in the early 1900s, unfolds almost entirely in and around a Russian lakeside estate, the film rarely feels static or stagy, with enough brisk editing, active camerawork and intimate framing to make for satisfying cinema.
  30. What Haunts Us
    What's most effective about the film isn't just the events at Porter-Gaud or their aftermath; it's Tolmach's emphasis on the disturbing truth of how often abuse like this is allowed to occur.
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