Los Angeles Times' Scores

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For 16,550 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: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. Challengers
    It lacks the control of Guadagnino’s earlier work — or rather, I should say, it takes subtlety and restraint and thwacks them over the fence and into the bushes.
  2. The Ministry of Ungentlemanly Warfare
    There’s a glee in the Nazi killing and an exceptionally dry humor that is English through and through, but Ritchie strikes a tone that rides the line between self-serious and self-consciously humorous.
  3. We Grown Now
    Set in the high-rises of the Cabrini-Green housing project in 1992, when the beleaguered complex’s decline was palpable, it sounds like a recipe for doleful poverty-gazing. But in Windy City native Baig’s solid hands, it’s a resolutely poetic, at times even golden-hued portrait of lives unafraid to hope amid growing despair.
  4. Abigail
    Abigail is at times a bit too flippant, over-the-top and even protracted in its ridiculous Grand Guignol of exploding “meat sacks,” but it’s very much in line with the unique Radio Silence sensibility, en vogue with audiences right now.
  5. The Old Oak
    As things play out, however, Loach and Laverty are realistic enough in their tale of invigorating compassion to grasp that, as difficult as it is to find and nurture hope, just as essential is recognizing the danger lurking in festering grievance.
  6. Blackout
    The idiosyncratic earnestness of an experienced horrormeister playing with the classics still makes for a substantial midnight snack.
  7. Civil War
    The takeaway isn’t exhilaration; the unease is what makes Garland’s film valuable. You watch it with your jaw hanging open.
  8. Coup de Chance
    If Coup de Chance is an exit for Allen, it’s at least a gracefully made one. To see where it’s heading doesn’t devalue its breezy appeal as a shaggy-dog tale about regret, power and luck.
  9. The First Omen
    Let’s credit debuting feature director Arkasha Stevenson (a former photographer for this paper) with the stylishness to pull off a potent sense of atmosphere and the kind of lovely period detail that deep studio pockets can fund but rarely have cause to summon.
  10. Housekeeping for Beginners
    Within "Housekeeping’s” restless, naturalistic aesthetic, Stolevski crafts complex and poignant images, contrasting the playacting the couple is forced to do with their searing gazes.
  11. Farewell, Mr. Haffmann
    Thanks to its actors, there’s a credibly heavy sense of the personal prisons within literal ones that only a wretched war can foster.
  12. Kim's Video
    This caper-slash-personal essay is an admirable endeavor that honors, above all, a filmmaker’s fixation on a medium that makes him whole.
  13. The Beast
    The film’s Lynchian surrealism and time-jumping adventurousness, although occasionally hobbled by narrative digressions, are lifted up by the two leads.
  14. Femme
    Within that funhouse mirror of an erotic-thriller premise, Femme proves to be a gorgeously mounted meditation on queer and queered performance.
  15. In the Land of Saints and Sinners
    Condon is utterly captivating as a brutal villain, and no one plays a valiantly chagrined hero like Neeson, sorrowful and suffering. In the “Neeson skills” canon, In the Land of Saints and Sinners proves to be a gem, the performances elevating a enjoyably pulpy thriller.
  16. The Shadowless Tower
    Zhang uses quiet to suggest an active calmness, so when a particular sound punctures the air — gurgling water, the music on a videotape, a child’s questions — it feels like the notes of life, the stuff that’s supposed to spark us.
  17. Wicked Little Letters
    The blessing is that Buckley, Colman, Spall and Vasan are expert enough that dimensional character work still peeks through the vibe of cookie-cutter idiosyncrasy.
  18. La Chimera
    As with Rohrwacher’s previous movies, there is an exquisite blurring between the tangible and the ethereal, the urban and the pastoral, life and death, past and present — all of it overlapping with the same ease as the hues of a twilight sky.
  19. DogMan
    Jones, never winking at the rampant absurdity, gives the proceedings a little grounding. But Besson wants off the leash and his instincts lead him astray.
  20. Godzilla x Kong: The New Empire
    There’s a harried energy to Godzilla x Kong: The New Empire, which is enjoyable until it becomes tiresome and deafening. Perhaps multiplication was too much — here’s hoping subtraction is next in the mathematical equation.
  21. Late Night with the Devil
    This is a pressure-cooker film, an exercise in small-budget simplicity that leans on one set and one goal: Keep ’em watching.
  22. Limbo
    Come for the cold case, stay for a couple of remarkably lived-in performances from Simon Baker and Natasha Wanganeen.
  23. Carol Doda Topless at the Condor
    Like one of those energetic Martin Scorsese montages where we’re privy to how a vibrant underground ecosystem works, the documentary pulls us inside a partying milieu of lights, stage gimmicks, fad dances and tough, colorful characters, a handful of whom are interviewed here alongside a few cultural commentators.
  24. Ghostbusters: Frozen Empire
    Even this cast can’t save the rote machinations of Ghostbusters: Frozen Empire as it dutifully delivers morsels of memory.
  25. Immaculate
    It’s goopy, gross fun, if not entirely terrifying, and if there’s a weak link, it’s the screenplay, which toys with deeper social and sexual themes but skims along the surface and leaves loose ends untied.
  26. Remembering Gene Wilder
    If Remembering Gene Wilder isn’t always the most dimensional or penetrating look at an actor’s life and psyche, it still serves as an upbeat tribute to a singular movie star, and a worthy reminder of how much he’s missed.
  27. Do Not Expect Too Much From the End of the World
    A corrosive rage courses through this 163-minute odyssey that’s matched by a leavening absurdism, Jude aghast at the comical stupidity of our inauthentic, greed-driven world.
  28. The American Society of Magical Negroes
    Like a comedy sketch that overstays its welcome, “Society” undermines both its caustic intent and its romantic-comedy subplot.
  29. Hundreds of Beavers
    This underground festival hit is a feverish fit of creative buffoonery — you haven’t experienced anything remotely like it.
  30. Knox Goes Away
    Knox Goes Away should be noirishly enjoyable hokum. But instead, screenwriter Gregory Poirier’s tribute to an earlier era’s taciturn machismo is more muddled and ludicrous than fleet and clever.
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