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. Ethel & Ernest
    While time inevitably marches on, director Roger Mainwood has a splendid constant at his disposal in the pitch-perfect voice performances of Blethyn and Broadbent, who inhabit their hand-drawn characters with a vivid, fully-dimensional authenticity.
  2. The Leisure Seeker
    The stars are as imprisoned as their characters’ respective frailties.
  3. The Thousand Faces of Dunjia
    Over the course of almost two hours, all the amped-up visual effects and slapstick silliness can become awfully exhausting, making a hinted-at sequel ultimately feel like a threat.
  4. Hedgehogs
    This family film feels episodic and entirely aimless. Set pieces that could have been fun feel rushed, and it’s unclear whether the problem originates with moments that weren’t animated or if connecting scenes and shots were cut in post-production.
  5. Beyond Skyline
    Beyond Skyline is a boldly bonkers film, and it leans into its genre goofiness with a straight face thanks to Grillo. But more humor would have gone a long way in sustaining interest and entertainment, as it’s not quite funny, and too low-budget to take seriously.
  6. Desolation
    Movies like these — so well-intentioned, so unexciting — give the very notion of “a brainy thriller” a bad rep.
  7. Birdboy: The Forgotten Children
    As adult animation goes, Birdboy is its own weird, woolly and surprisingly sensitive foray into the grimmer corners of life. But at its best, when Vázquez and Rivero hit the right mix of melancholy and acidic in their battered fever dream, it plays like a troubled schoolkid’s secret drawings brought to colorful, if unapologetically horrific, life.
  8. I Am Evidence
    Though I Am Evidence processes a tremendous amount of data and information, it’s a deeply personal and intimate film. However distressing it may be, it leaves room for hope.
  9. From the Ground Up
    The documentary is at its strongest when it leans into its variety of subjects, rather than when the director centers on his own history and training. However, he skims over both, and the lack of depth and focus hurts his argument.
  10. And the Winner Isn't
    [A] diverting, oddly candid, often satirical documentary.
  11. Cinderella the Cat
    The filmmakers seem to have been trying for the kind of animated film noir that has been done so skillfully in Japan, but Cinderella the Cat never approaches that level level.
  12. The Pirates of Somalia
    Brian Buckley’s The Pirates of Somalia, based on a memoir by Jay Bahadur, finds itself navigating some choppy tonal waters prior to emerging as an engagingly performed take on recent world events.
  13. Star Wars: Episode VIII - The Last Jedi
    Easily its most exciting iteration in decades — the first flat-out terrific “Star Wars” movie since 1980’s “The Empire Strikes Back.” It seizes upon Lucas’ original dream of finding a pop vessel for his obsessions — Akira Kurosawa epics, John Ford westerns, science-fiction serials — and fulfills it with a verve and imagination all its own.
  14. Just Getting Started
    Even a cast with this many award wins and nominations can't salvage a script that will have viewers audibly sighing, rather than laughing.
  15. Along for the Ride
    This documentary won’t provide an exhaustive view of his filmography or life offscreen, but it paints an impressionistic picture that feels almost experimental at times. Simultaneously arty and artful, it refuses to take the standard approach and it will reward cinephiles who want something different than most film biographies can offer.
  16. Arthur Miller: Writer
    Above all, it’s the warm, searching conversations between father and daughter, whether they’re seated side by side or she’s questioning him from behind the camera, that give the documentary its poignant immediacy.
  17. The Challenge
    This movie is more like a gallery exhibition of moving portraits — each more astonishing than the last.
  18. Big Sonia
    Seeing Sonia confidently gripping the leopard print-covered steering wheel of her late model Oldsmobile and getting on with her day serves as a potent and especially timely lesson about living a compassionate, vibrant life that doesn’t have any room for hatred and bitterness.
  19. I, Tonya
    Harding’s story, in this overly broad retelling, is not especially strong on narrative density — or, for that matter, ambiguity.
  20. The Shape of Water
    The Shape of Water is a wonder to behold. Magical, thrilling and romantic to the core, a sensual and fantastical fairy tale with moral overtones, it’s a film that plays by all the rules and none of them, going its own way with fierce abandon.
  21. Bombshell: The Hedy Lamarr Story
    What makes "Bombshell" intriguing is not just Lamarr's gift for invention, it's also what a fiery individualist she was, someone who had no regrets about her eventful life ("You learn from everything"), not even its racy, tabloid elements.
  22. Song of Granite
    More than the story of an individual, the film is a stirring tribute to endangered folk traditions.
  23. The Rape of Recy Taylor
    Truths this scalding and plain-spoken need no such embellishment to be heard.
  24. The Doll
    There are limits to how much of an edge a movie gets from incompetence — as writer/director/producer Susannah O’Brien’s The Doll proves definitively.
  25. The Dancer
    The Dancer is such a bold and assured film, wildly creative and sensual, that it feels far more sophisticated than a debut, and signals Di Giusto as one to watch.
  26. Bullet Head
    As a perilous dog-and-mouse game ensues, Solet packs his script with tension, dimension and several vivid flashbacks recalling the characters’ seminal encounters with dogs. Cool camerawork too.
  27. Shadowman
    Shadowman is at its unsettling, want-to-look-away best when tiptoeing around the question of what makes for success regarding artists like Hambleton: the hoopla that keeps the work in circulation, or the mysterious inner pilot light that keeps a self-destructive talent going?
  28. Kaleidoscope
    Kaleidoscope is brilliantly crafted and performed, but it’s a bit too taken with its own muddling of facts and form to truly hook into.
  29. The Tribes of Palos Verdes
    The directors get some melancholic atmosphere out of their visuals but don’t have the scene sense to build their actors’ committed performances into compelling through-lines of seaside personality disintegration.
  30. Hollow in the Land
    Like “Winter’s Bone,” the film is at its best when it follows its heroine closely, letting the audience understand more about her life with each step closer to danger.
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