Los Angeles Times' Scores

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For 16,535 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: 8,705 out of 16535
  2. Mixed: 5,813 out of 16535
  3. Negative: 2,017 out of 16535
16535 movie reviews
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  1. The Crash
    While writer-director-editor Aram Rappaport draws effectively weighted performances (especially from the always committed Driver) and maintains a crisp pace, he’s less adept at balancing those big picture thriller elements with Clifton’s personal journey, which ultimately serves to rob both aspects of greater potency.
  2. 100 Streets
    It’s six or so characters in search of a meaningful movie.
  3. We Are the Flesh
    Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
  4. The Bye Bye Man
    The Bye Bye Man is cheesy, but it feels knowingly cheesy, with a heavy dose of wink-wink, nudge-nudge from the filmmakers.
  5. The Book of Love
    For a film thats trying very hard to make you feel, it sure leaves you cold.
  6. Reset
    This is one documentary, as “La Danse” was before it, that is a thing of beauty in and of itself.
  7. One Piece Film: Gold
    Viewers unfamiliar with One Piece may find themselves lost in places, as the filmmakers treat the regular characters and their relationships as givens, with no introductions or explanations. Fans will find the outré settings, bizarre characters, over-the-top fights and slapstick comedy they enjoy.
  8. Underworld: Blood Wars
    The fifth film in the series still executes creative kills; if only the same attention were paid to the rest of the movie.
  9. Hickey
    A generic coming-of-age comedy that feels inextricably stuck in the ’90s, Hickey serves as the feature debut of TV commercial director Alex Grossman and plays like a never aired UPN series pilot.
  10. Videophilia (and Other Viral Syndromes)
    In its loose, hallucinatory narrative, we gain a sense of the nightmares caused by a loss of spirituality and physical connection. It may leave you questioning if the Mayans were right all along.
  11. Pitchfork
    Director/co-writer Glenn Douglas Packard tries to bring a little style and color to the film by relying on off-kilter camera angles and cartoonish supporting characters. But he mostly stays within the narrow parameters of the “knocking off generically attractive youngsters one-by-one” movie, never getting campy enough, bizarre enough or satirical enough.
  12. Retake
    A fine Watkins brings quiet depth and pathos to the buttoned-up, tightly wound Jonathan, while Graye proves an appealingly game and sexy counterpart.
  13. Two Lovers and a Bear
    Two Lovers and a Bear is above all thrillingly cinematic, even when its elements of lived-in intensity and jokey fantasy refuse to coalesce.
  14. Lost & Found
    A sporadically fun, heartfelt ride whose script by director Joseph Itaya and Erik Cardona is filled with too many broad strokes, faux close calls, plot conveniences and questionable story points to feel fully baked.
  15. Between Us
    The loose style of the film is held together by the strong performances from the leads and supporting actors alike.
  16. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is sometimes too low-key, favoring spooky atmosphere and slow-drip storytelling over visceral kicks. But as an acting showcase, the film’s a winner, getting plenty of juice from the performances of two reliable pros.
  17. Arsenal
    Despite attracting some top-drawer talent, “Arsenal” is a brutally unpleasant, bottom-of-the-barrel crime drama that unsuccessfully attempts to drown the terrible dialogue and pedestrian direction with buckets of gushing blood.
  18. Railroad Tigers
    Instead of a grand lark of fast fists and derring-do, we get a lumbering, choppy voyage of minimal excitement.
  19. Paterson
    What’s magical about Paterson — and what may frustrate those seeking a tidier, prosier experience — is its refusal to settle for clear answers.
  20. 20th Century Women
    The beauty of Bening’s performance lies in those marvelously suggestive layers — all the delicate, tendril-like emotional possibilities that she manages to tuck into the margins of any given moment.
  21. Why Him?
    The biggest problem with Why Him? though, isn’t him, it’s her. Stephanie is so underwritten that even though these men are competing ruthlessly over her, she drops out of the story completely. She’s the center of attention, but she’s a void. That’s not the fault of the winsome Deutch.
  22. A Monster Calls
    "Monster" is almost too ambitious to be completely realized. But when it works, which is most of the time, its story has a power which lingers in the mind.
  23. Hidden Figures
    The film may not be restrained but stars Taraji P. Henson, Octavia Spencer and Janelle Monáe are powerfully effective and its little-known true story is so flabbergasting that resistance is all but futile.
  24. Live by Night
    The movie is handsomely mounted with upscale production values, but it feels sluggish and disjointed.
  25. Silence
    Building implacable dread and tension from scene to scene, the story is as simple as its underlying ideas are endlessly complex.
  26. I, Daniel Blake
    When I, Daniel Blake regrettably piles it on at the end, it’s Loach growing weary of humanizing details and desperate to shake you up with consequences, didacticism and speechifying. It’s the finger-pointer in him, but as this movie frequently shows in its best moments, he’s still a practiced veteran at open-arms affection for the dignity of the downtrodden.
  27. Toni Erdmann
    Ade has an unusual gift for planting more than one idea in each frame; I don’t think there’s a single one of the movie’s 162 minutes that can be reduced to a single emotional beat or narrative function. That hefty running time isn’t a sign of indulgence, but integrity.
  28. Julieta
    The movie may not have the audacity and emotional grandeur of a new Almodóvar masterpiece, but in every particular — its seamless manipulation of time, its sly infusions of comedy, its expert direction of actors and, yes, its fabulous wallpaper — it confirms his mastery nonetheless.
  29. Sing
    It's a cute movie with genuinely funny moments (keep an eye out for the koala car wash), and some great tunes to boot.
  30. Assassin's Creed
    Assassin's Creed will be polarizing, but it's fascinating as an entry in Kurzel's oeuvre. It is singularly his film — both in style and the obsession with hubris, power and violence.
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