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. Kingsman: The Golden Circle
    It pulls off the impressive feat of feeling both hyperactive and lazy. This is hardly the first time a major Hollywood franchise has succumbed to narrative flabbiness, or invested in grand, elaborate world building with the kind of devotion that far outstrips the viewer’s interest.
  2. Battle of the Sexes
    Enjoyable and entertaining.
  3. 1 Buck
    Dufils vividly captures the locale’s seedy, swampy vibe, with its dive bars, shabby homes, ubiquitous convenience stores and underground fight spots. If only there were a more compelling, engaging narrative to match.
  4. Vengeance: A Love Story
    Any hope of prestige is dashed by the heavy-handed, cliché-ridden direction of former stuntman Johnny Martin and his star’s detached portrayal of a guy whose mind is permanently elsewhere.
  5. Infinity Chamber
    Infinity Chamber (renamed from the original “Somnio”) may accurately convey the oppressive perpetuity of its title, but all that repetition in the absence of more inspired plotting results in a payoff that feels inescapably contrived.
  6. Justice
    Richard Gabai’s film is too preoccupied corralling all the genre clichés to come up with anything original or compelling.
  7. The Show
    The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.
  8. The View from Here
    It’s all too sterile and stilted, distracting from the deeply emotional story of love and loss at its core.
  9. Ryde
    This slick and stylish exterior belies a rotting core underneath. Ryde thinks little of its characters or its audience; it's an exercise in misanthropy with a nasty streak of misogyny running through it.
  10. Against the Night
    The director gives the audience a story that takes off in as many directions as the prison corridors, leaving us lost and dazed. But unlike the characters, the viewers never feel a moment of fear.
  11. Clash
    The filmmakers cultivate a dynamic portrait of Egypt, with its dense social, political and religious layers.
  12. The Unknown Girl
    Forcing their usual ethical query into the structure of a whodunit, the Dardennes have emerged with a narrative that, as compelling as it is, can also feel prosaic and even a bit predictable, especially in the overly aggressive melodrama of the closing scenes.
  13. Manolo: The Boy Who Made Shoes for Lizards
    At times it is a bit unfocused, following a loosely chronological but otherwise haphazard structure. Yet it’s still a treat to spend time in the company of a true artist, never before illuminated with such clarity.
  14. American Assassin
    American Assassin is a serviceable, workman-like thriller that makes the familiar as involving as its going to get. It demonstrates that even Jason Bourne lite is better than no Bourne at all, if you're in the mood.
  15. Wetlands
    There are occasionally atmospheric shots of depopulated boardwalks and streets, but the strain to give the visuals meaning becomes its own clue in the worst crime committed here: the killing of good storytelling.
  16. Year by the Sea
    Unfortunately, this overlong picture rarely feels particularly authentic.
  17. School Life
    School Life is as charming, intimate and warm-hearted an observational documentary as you'd ever want to see.
  18. The Wilde Wedding
    There’s barely a convincing — or amusing — situation or interaction, including the film’s climactic nuptials, which also turn fatally contrived.
  19. First They Killed My Father
    Though this story couldn't mean more to Jolie, she hasn't been able to make it mean as much to us. Scrupulous and perhaps constrained at the thought of overdoing things, Jolie has allowed the enormity of the story to get the best of her, creating a film that is more disturbing than moving.
  20. Red Trees
    Cinematically and emotionally it’s a mixed bag, a slow-moving visual treatise and occasional vanity piece that requires — but doesn’t always earn — our indulgence.
  21. Brad's Status
    Starting from a single key insight into human behavior — the natural compulsion to compare oneself to others — White has spun a funny, empathetic and surprisingly grounded comedy that itself defies obvious comparisons.
  22. mother!
    The movie is a savage attack on the egomania that enables a director to fancy himself a deity, as well as the rotten patriarchies that govern the worlds of art, industry and religion alike, with Lawrence embodying the wise but perpetually ignored voice of the divine feminine.
  23. Strong Island
    As fingers move Polaroids around in the frame, or faces in jarring close-up grapple with unresolved tragedy, you realize Strong Island is a state-of-mind piece, surveying the wreckage from within.
  24. Trophy
    With lines drawn along politics, class, race and economics, the strange-bedfellows issue of top-dollar killing and queasy conservation is one that Trophy...lays bare with gruesome, grim exactitude.
  25. In Search of Fellini
    The quasi-magical realist film In Search of Fellini has its heart in the right place but wears its studied quirks on its sleeve, leading with influences and references rather than a strong story.
  26. Kill Me Please
    Kill Me Please acknowledges the dark and riotous physical energy of teen girls in this tribute to slasher films and coming-of-age comedies that proves to be a new classic from first frame to last.
  27. Dayveon
    A creeping naturalism inhabits virtually every frame of Dayveon.
  28. 9/11
    9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.
  29. The Wound
    Trengove’s direction keeps things firmly grounded in the play of glances and intimacies under shelter of nature’s seclusion — dusk-lit silhouettes stealing moments, a waterfall rendezvous.
  30. September Morning
    Frost memorializes his experience of this day, but it’s just not enough to make a significant comment about the event.
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