Los Angeles Times' Scores

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For 16,533 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: 8,703 out of 16533
  2. Mixed: 5,813 out of 16533
  3. Negative: 2,017 out of 16533
16533 movie reviews
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  1. Naples '44
    At most, Naples ’44 makes a solid case for turning to Lewis’ prose and getting the full effect of his year there that way.
  2. Company Town
    Although the movie...could use some second-half tightening and a bit more objectivity (Georgia-Pacific and Koch Industries did not comment in the film), it remains a vital, eye-opening portrait.
  3. Foxtrot
    An intricate, dazzling cinematic dance, Foxtrot goes both deeper in and further out than standard-issue cinema. It's profound and moving and wild and crazy at the same time, simultaneously telling a specific story and offering an emotional snapshot of a country whose very soul seems to be at risk.
  4. Badsville
    Forget the cheapo title, Badsville is a powerful, deeply felt crime drama about letting go of the past and getting out of Dodge — before it’s too late.
  5. Another WolfCop
    Looking for bathroom humor, beer jokes, heavy metal, unapologetic smut and a dude in a furry monster suit? These movies are a one-stop shop for just that kind of good-natured vulgarity.
  6. Dark Meridian
    This debut effort from Hickman lacks the dramatic tension and connective tissue to truly compel, but his gritty, high-energy aesthetic can no doubt be applied to better results with a stronger script.
  7. Brotherhood of Blades II: The Infernal Battlefield
    The blades of the brotherhood may be sharp, but the execution is exceedingly dull.
  8. Apache Warrior
    The stirring, masterfully constructed documentary “Apache Warrior” makes intriguing use of three recovered flight tapes from a squadron of U.S. Apache fighter helicopters that launched a deep attack in Iraq at the start of the war in March 2003.
  9. What Happened in Vegas
    Despite Denison’s intentions, a very fine, uncomfortable line exists between being up-to-the-minute and opportunistic.
  10. Extraordinary Ordinary People
    The clunky organization and very basic production values give way to something inspiring.
  11. The New Radical
    Ultimately, it feels irresponsible to remain unwilling to take a stand on this extreme abstract rhetoric in support of an all too real and immediate threat.
  12. Voyeur
    [A] fascinating and frustrating documentary.
  13. Alien Invasion: S.U.M.1
    With its uninspired ending, Alien Invasion: S.U.M.1 squanders its cool concept and a compelling, nearly solo performance by Iwan Rheon.
  14. The Other Side of Hope
    While the conclusion to The Other Side of Hope is open-ended, Kaurismaki unashamedly believes in brotherhood, and among other things his film celebrates people who do the right thing without making a big deal about it.
  15. Love Beats Rhymes
    Love Beats Rhymes lacks its own ambition to be something different.
  16. The Disaster Artist
    The story of how Wiseau turned his great cinematic lemon into zeitgeist lemonade is both heartening and instructive, but it also hints at darker secrets and unknowns that this movie’s upbeat dimensions can’t entirely capture.
  17. Psychopaths
    Psychopaths is too random, too kitschy — too immature.
  18. Princess Cyd
    As comfortable to slip into as an afternoon in the sun, as satisfying as a late-night piece of cake, Princess Cyd is a jewel of a film that plumbs thematic depths far below its surface.
  19. Mary and The Witch's Flower
    If Yonebayashi’s movie doesn’t have the visual richness and imaginative depth of Ghibli masterpieces like Hayao Miyazaki’s “Spirited Away,” its emotional warmth and wondrously inviting hand-drawn imagery carry on that company’s proud tradition.
  20. 24 Hours to Live
    Until it devolves into testosterone-drenched, operatic silliness, the mix of bullets, blood and banter is dumb fun.
  21. Drawing Home
    A creaky recount of the relationship between affluent, New England-born painter Catharine Robb (Julie Lynn Mortensen) and her rural-Canadian artist husband, Peter Whyte (Juan Riedinger).
  22. A Bad Idea Gone Wrong
    Headley has created three oddly memorable folks here, no small feat given their detail-light histories. It’s also a testament to the able cast — especially the enjoyably nimble Rogers — that we invest in their characters and their cockeyed plight as much as we do.
  23. Wonder Wheel
    Because of its look, some fine period music including the Mills Brothers version of "Coney Island Washboard," and actors giving it their best effort, Wonder Wheel is not as completely forgettable as it would otherwise be.
  24. Loveless
    Toward the end of this searing, finally overwhelming film, it’s unclear which is the more disturbing realization: that Alyosha was lost long before he went missing, or that you don’t really want him to be found.
  25. Daisy Winters
    The script blunts its own emotional impact with coincidences, odd choices and an ending that feels too neat, even for an inspirational film of this nature.
  26. Gangster Land
    The movie isn’t trying to understand Chicago in the Capone era. It just uses those names and stories as a backdrop for a lot of shooting, swearing and bad accents.
  27. Slumber
    Hopkins and company don’t bring much special or personal to the material. The plot’s predictable and the shocks are routine in Slumber.
  28. The Swindlers
    You may tire of the onion-peeling by the time it’s all laid bare, but for fans of the buffet-style of crime capers it’s a slick diversion, engagingly assembled and acted.
  29. Remember Me
    As a screenwriter and director, Goldbloom is green but well-intentioned, with later moments redeeming some early ugliness.
  30. Sweet Virginia
    Dagg (who previously made the very good chase picture “River”) tries too hard to give the material a highbrow frame. The movie is dimly lighted and hushed to a fault. But the China brothers’ script is strong, and Dagg elicits terrific performances from Abbott, Bernthal and Poots.
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