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. A Ciambra
    Amid the verisimilitude of location shooting and a cast of mostly nonprofessionals playing fictionalized versions of themselves, Carpignano inserts poetic touches.
  2. On Body and Soul
    Like the best of dreams, familiar yet wondrously different, On Body and Soul adroitly mixes recognizable cinematic tropes with extraordinary ideas that are very much the filmmaker's own.
  3. A Lesson in Cruelty
    A Lesson in Cruelty tries to affect a dark comedic tone, but fails spectacularly. There's no comedy, despite Lebrun's over-the-top vamping, and the dark elements are far too disturbing and violent.
  4. Have a Nice Day
    Liu gives you plenty to listen to, but don't forget to look: Beyond the formulaic thriller plotting and the showy verbiage, it's the movie's richly textured vision of urban decay that stays with you.
  5. Bucky and the Squirrels
    It's a no-go from the get-go with its labored stabs at humor and satire, doltish characters, utter disconnection from reality (even for a spoof) and scenes stretched to the breaking point.
  6. Lies We Tell
    Truth be told, Lies We Tell is a pretentious and muddled dud of a melodrama.
  7. The Lucky Man
    Writer-director Norman Gregory McGuire needed to better flesh out his inconsistent main characters, clarify their goals and motivations, and deepen their journey with more vivid set pieces and fewer clichés.
  8. Living Among Us
    Writer-director Brian A. Metcalf avoids the usual found-footage looseness, instead relying on scripted dialogue and professional actors (including former child star Thomas Ian Nicholas, who also produced). The cast is strong but their lines are painfully stilted.
  9. Before We Vanish
    If Before We Vanish isn't nearly as focused or accomplished as Kurosawa's horror masterpiece "Cure" (2001), or as shattering as his magnum opus "Tokyo Sonata" (2008), it's nonetheless a reminder that he has few equals when it comes to spinning even the flimsiest B-movie template into a cinema of ideas.
  10. The Cage Fighter
    At just 81 minutes, The Cage Fighter has been whittled down to its fighting weight, trimmed of every ounce of fat. Unay tells Carman's story without interviews or narration, but the film lands every punch without their help.
  11. Shot in the Dark
    Shot in the Dark is a sobering reminder that places like Chicago are more than sensationalistic national headlines about crime and sports: they're where kids struggle every day to balance their dreams with the obstacle course of their surroundings.
  12. The Campus
    Horton shows clear affection for the genre, but only the most indiscriminate horror fan could love this lumbering five-headed monster.
  13. Maze Runner: The Death Cure
    Ball and screenwriter Nowlin keep a tight grip on the tone and the relentless pace, but they often back the story and characters into corners that only a deus ex machina can fix.
  14. A Futile and Stupid Gesture
    Wry, head-shaking smiles at bad behavior are many — open laughter is lacking. Wain maintains a frenetic, near-vaudevillian pace, but this is a tribute flick that rejoices in anarchy and tastelessness without being exhilaratingly either thing itself.
  15. Vazante
    Grimly powerful and intersectionally acute, Thomas' serious, haunted period saga is a portrait of colonial rot and patriarchal cruelty as experienced by characters inextricably linked — male and female, free and chained, native and not, even sane and otherwise — in one remote outpost.
  16. Lover for a Day
    Lover for a Day, which completes a thematic trilogy of sorts with Garrel's "Jealousy" (2014) and "In the Shadow of Women" (2016), is one of his more enchanting specimens.
  17. The Clapper
    Writer-director Dito Montiel, adapting his novel, takes an ill-conceived premise and drives it into the ground with a painful, tone-deaf approach to both social satire and romantic comedy.
  18. American Folk
    The songs are lovely, and the first-time actors give performances that grow warmer as the film progresses, and their characters release, relax and find a groove, if only for this moment in time.
  19. Desolation
    It wants to be a commentary on the depravity of Hollywood and what people find entertaining, but instead it mostly just mirrors the media's habit of using sexual trauma as a plot device and surviving such horrors as a character trait.
  20. Kickboxer: Retaliation
    Director Dimitri Logothetis, again scripting with his Kickboxer: Vengeance co-writer James McGrath, barrels through the chockablock action with requisite energy. But dialogue and performances (including Mike Tyson as Kurt's prison mate), are often laughably subpar.
  21. Like Me
    Both impish and melancholy, with Timlin and Fessenden handily shifting the molecules in the air each time they share a scene, Like Me has an eccentric bravura to it.
  22. The Neighbor
    Although it has some commitment issues in terms of wanting to be both a probing domestic drama and a flat-out thriller, Aaron Harvey's The Neighbor finds a sturdy constant in its thoughtfully delineated performances and handsome production values.
  23. Please Stand By
    Please Stand By has its surface charms...but if you look under the hood, the film just doesn't work.
  24. The Misguided
    Nibali and Galati deliver their lines in matching monotones, in scenes that are simply deadening. None of the trio of leads has the presence to carry the film, though Mihaljevich displays a flicker as the dangerous sociopath Wendel. Alexander's limited style doesn't help these performances either, nor does the wildly underwritten script.
  25. Dance Baby Dance
    Writer, director, producer and star Stephen Kogon is clearly trying his hardest to create an entertaining film fueled by a passion for tap dance, but what’s on screen demonstrates an utter lack of filmmaking knowledge.
  26. 12 Strong
    What makes 12 Strong objectionable — and what will also make it appealing to some — is its attempt to induce a kind of amnesia in the audience, to ask that we forget about the subsequent moral and strategic failures of America’s “war on terror” or the limits of military retaliation when it comes to the pursuit of justice.
  27. Showdown in Manila
    This is a visually inept, nonexciting slog, from the dialogue scenes in which the image shakes because one assumes the camera operators were laughing, to the action shots that you would have re-staged if you were just filming your pets at home.
  28. Step Sisters
    Director Charles Stone III and screenwriter Chuck Hayward have made an overlong film at 108 minutes that may try the audience’s patience at times, but their movie hits its beats enough to make fans of the genre tap their feet along with the action on screen.
  29. Mom and Dad
    The comic incongruity of doting parents stalking children becomes less funny over time; and often it feels like Taylor hasn’t thought through the particulars of his premise, or the places he could’ve taken it.
  30. Small Town Crime
    Engagingly anchored by character actor John Hawkes, Small Town Crime is a satisfyingly quirky serving of frisky pulp fiction.
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