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. Your Name.
    The movie’s spirit is by turns energetic and serene, impetuous and wise, its wild shifts from comedy to tragedy to romance revealing themselves not as tonal swings so much as variations in a larger cosmic pattern.
  2. Gifted
    No one is likely to disagree with the basic correctness of the movie’s conclusions, though you may well object to the process by which it arrives at them.
  3. bwoy
    Bwoy (Jamaican patois for boy), which largely plays like a stage-appropriate two-hander, is ultimately a surprising and cathartic, if often unsettling, film anchored by Rapp’s superb portrayal of a tortured soul desperate to connect. Brooks’ deftly enticing turn is also a standout.
  4. Fare
    Forced character arc aside though, this is a tightly constructed and well acted indie with a few standout sequences. It’s further proof that sometimes all a filmmaker needs is a cab and a camera.
  5. Pitching Tents
    From the homophobic slurs to the lowest common denominator body humor to the stale gender politics, Pitching Tents is all cutesy retro raunchiness without any innovation or comedic payoff. It might have been excusable back in the day, but now it’s just boring.
  6. Here Alone
    This is the first act of a better movie, stretched to fill a feature.
  7. Despite the Falling Snow
    Despite the Falling Snow is ostensibly a love story set against a Cold War thriller backdrop, but it features no heat and little tension.
  8. In Search of Israeli Cuisine
    If the pacing flags a bit en route, enough vivid imagery remains to hold interest, with Solomonov proving a smart, appealing and personally invested guide.
  9. The Levelling
    Set on a dairy farm in southwestern England, The Levelling is a modestly scaled, superbly crafted drama with a powerful sense of place.
  10. The Prison
    Two tedious hours later, the sensation of doing time is all too tangible.
  11. I Called Him Morgan
    Artistic, obsessive and intoxicating, I Called Him Morgan is a documentary with a creative soul, and that makes all the difference.
  12. For Here or to Go?
    In attempting to address its many concerns, the film’s agreeable, lightly satirical tone gives way to increasingly didactic dialogue and a stalling pace.
  13. Ghost in the Shell
    Your head might not be spinning as you exit the theater, but your senses will be deeply and thoroughly ravished.
  14. The Blackcoat's Daughter
    Eventually, The Blackcoat’s Daughter connects the pieces and ends strongly, though Perkins smartly spends more creative energy on crafting creepy situations than on pointing toward the payoff.
  15. Carrie Pilby
    Carrie Pilby is a studiously quirky affair, but only the natural charm of Powley salvages that tone. The film swings wildly from melancholy to wacky, never truly melding the two; it somehow also lacks verve and energy.
  16. The Zookeeper's Wife
    An emotional experience that is straight-ahead but satisfying.
  17. The Discovery
    Director Charlie McDowell, who co-wrote the film with Justin Lader, sidesteps the material’s more intriguing ideas, ultimately settling for a conventional story about love, loss and second chances. The disappointment comes not in the lack of answers but in the relative absence of audacity in tackling such a trippy concept.
  18. The Boss Baby
    Mistaking cliché for comic insight, and lacking the kind of conceptual rigor that a Pixar intern could probably muster, the script falls back repeatedly on the kinds of assumptions about human behavior that are meant to be cute and relatable to grown-ups and kids alike, but which instead offer an unflattering glimpse into the movie’s lazy, cynical soul.
  19. Life
    Life is efficiently constructed to unsettle audiences. It demonstrates both the pleasures and the limitations of doing a skillful job with familiar genre material.
  20. Diamond Cartel
    The largely Russian- and Kazakh-speaking cast is so incongruously dubbed into English it evokes an old Japanese monster movie.
  21. Walk of Fame
    Aggressive and aggressively unfunny, Hollywood-set comedy Walk of Fame hates its characters and its audience — and the feeling is mutual.
  22. Frantz
    It is a cunningly crafted fiction, full of visual artifice and narrative sleight-of-hand, that by the end could hardly feel more sincere.
  23. American Anarchist
    Although it occasionally feels as if the thoughtful Powell (who unexpectedly died last summer) is being forced into a repentant corner, the film remains a penetrating case study in taking ownership of one’s actions.
  24. Dig Two Graves
    There’s a lived-in quality to Dig Two Graves that’s all-too-rare for low-budget movies in this genre.
  25. Bokeh
    The drama’s power may dwindle, yet its end-of-the-world scenario remains oddly recognizable.
  26. Prevenge
    While the plot is skimpy, the performances are rich, which turns Prevenge into a series of satirical sketches, dissecting the social dynamics between a mother-to-be and the various men and women who think they have an advantage over her.
  27. CHIPS
    Its principal ambition — basically, to make movies like “The Dukes of Hazzard” and “Starsky & Hutch” look like rigorous masterworks of screen-to-screen adaptation by comparison — may be as shallow as the gutter. But from time to time, the movie does throw off its own crazy, moronic verve.
  28. Wilson
    Wilson asks, can a male middle-aged crank get a sentimental education? If you even care whether that’s possible, Craig Johnson’s film adaptation of Daniel Clowes’ 2010 graphic novel offers a reasonably amusing case study in how that might transpire.
  29. Saban's Power Rangers
    I feel more qualified than usual to announce that Saban’s Power Rangers (Saban clearly never learned to share) is a witless and cobbled-together pile of junk, and I mean that not as an insult so much as an assurance of brand integrity.
  30. All Nighter
    It’s all feather-light, low-stakes stuff where it’s about the journey not the destination, and not judging a book by its cover. It skates by on the charisma of its stars but evaporates on contact.
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