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. Terminal
    Robbie is fascinating to watch, as always. But in this case she's providing 100-watt star power to a tacky little table lamp.
  2. Class Rank
    Class Rank is a late bloomer that takes time to find its footing, but once it does, it proves to be as stealthily likable as its characters.
  3. Jeannette: The Childhood of Joan of Arc
    Dumont's imagination is fertile, but not exactly full when it runs close to two hours. What's always evident, however, is a punk-rock respect for Joan as a symbol of exuberant outrageousness.
  4. The Test & The Art of Thinking
    [A] briskly informative, convincing documentary.
  5. American Socialist: The Life and Times of Eugene Victor Debs
    Though Debs is a legendary and influential character, the style of "American Socialist" fails to come to life.
  6. After Auschwitz
    Kean's perceptive film does an effective job of keeping their moving, lucid observations vitally alive.
  7. Let the Sunshine In
    Denis and her writing partner, the novelist and playwright Christine Angot, have woven a sublime comedy of sexual indecision. They mine Isabelle's affairs for humor as well as heartache, and do it with such delicacy that you may be hard-pressed to tell which is which.
  8. RBG
    Make no mistake about it, this woman is a force, and the great service this clear-eyed and admiring documentary provides is to emphasize not just Ginsburg's work on the court but how extraordinarily influential she was before she even got there.
  9. Tully
    It's one of the more viscerally accurate portraits of parenthood, and specifically motherhood, that the movies have recently given us.
  10. Overboard
    The whole endeavor is an exercise in trying to do too many things — rehash a nostalgic property, propel Mexican film star Eugenio Derbez to mainstream stardom, revive Anna Faris' film career — but it never actually manages to be a good movie.
  11. Train to Zakopané
    Among the more glaring issues are performances that sound distractingly contemporary and obvious budget constraints that serve to suffocate the overly talky chamber piece instead of providing much-needed breathing room.
  12. Gehenna: Where Death Lives
    "Gehenna" features impressive gore effects, but the plot's an uninspired hodgepodge of dozens of other "haunted structure" pictures, set at a plodding pace, in a gray, dim location. It peaks in its first five minutes. The remaining 100 go nowhere, slowly.
  13. The Con Is On
    The Con Is On takes off like a shot: a stylish caper with enjoyably wry, martini-soaked dialogue and a terrific comedic turn by Uma Thurman as a glamorous British scam artist. Then there's the film's second half — which sinks like a stone.
  14. Love & Bananas
    Love & Bananas works on two levels, spreading awareness about the plight of Asian elephants and the damage that tourist activities like elephant treks wreak, as well as documenting Noi Na's 500-mile journey and dramatic rescue.
  15. Son of Bigfoot
    The script misses the spark of better family films with its overly complicated plot and lackluster dialogue. However, "The Son of Bigfoot" features some nice animation, particularly in its action scenes, and its moments between father and son are especially sweet.
  16. The Cleanse
    Although it may evoke such films as "Gremlins" and "The Lobster," as well as David Cronenberg's earlier work, writer-director Bobby Miller's oozy, eerie, yet weirdly soulful yarn feels like an original.
  17. Ray Meets Helen
    This mannered character study comes across as more affected than affecting.
  18. In the Last Days of the City
    A soulful, atmospheric travelogue that toggles between immersing in and removing itself from the chaotic beauty of teeming humanity, El Said's movie gives a humming, on-the-edge metropolis its heart-pumping, reflective due.
  19. Alex & The List
    A great cast cannot save the dramatically inert and totally inept rom-com "Alex & The List," which is short on both the rom and the com.
  20. The 12th Man
    The 12th Man is a polished crowd-pleaser, with a timeless message: Nazis suck.
  21. Bad Samaritan
    The filmmaking itself is suspenseful, classic horror filmmaking, with plenty of jump scares and ominous camera movements. But where the film succeeds most is in its realistic use of technology.
  22. Andover
    This choppy film, which is saddled with a subplot about a dogged insurance agent (Richard Portnow), becomes more mechanical than emotional, leapfrogging time, logic and process as it scrambles to its too clever-by-half conclusion.
  23. Racer and the Jailbird
    Racer and the Jailbird remains absorbing throughout, thanks primarily to the two leads, who are both almost frighteningly believable as lovers willing to risk everything to stay together.
  24. Jewel's Catch One
    Anecdotes and photos bring the golden age of Catch One to life, with a lively disco soundtrack and Thais-Williams' font of fascinating stories. But the film itself could use a more rigorous structure as it wanders from anecdote to anecdote and era to era.
  25. Goran
    For those who like their jokes on the cruel side, Goran is a darkly comic treat that is a far better experience for the audience than its characters.
  26. Lou Andreas-Salomé, The Audacity to be Free
    Director Cordula Kablitz-Post, who scripted with Susanne Hertel, effectively presents Lou as neither heroine nor genius but as a flawed, complex, fascinating pacesetter.
  27. Duck Butter
    Shawkat's writerly voice in Duck Butter is deeply personal and probing. The film is funny and honest and Arteta, working with cinematographer Hillary Spera, balances the intimate material with a light, airy sensuality. Shawkat and Costa each give intensely powerful performances, and together they are magnetic.
  28. Kings
    Ergüven's vision is a wild, melodramatic journey that offers no answers or insights, and by the end it only leaves one feeling, well, completely flabbergasted.
  29. Backstabbing for Beginners
    Although James' muted performance comes across as a bit lifeless alongside Kingsley's more colorful, masterfully modulated turn, the characterizations nevertheless allow for satisfyingly complex, real-world renderings of conventional heroes and villains.
  30. Modern Life Is Rubbish
    As the name suggests, Modern Life Is Rubbish romanticizes analog relationships — and is meant for anyone who does the same.
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