Los Angeles Times' Scores

Select another publication »
For 16,536 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: 8,706 out of 16536
  2. Mixed: 5,813 out of 16536
  3. Negative: 2,017 out of 16536
16536 movie reviews
view
per page
  1. Disorder
    For all Winocour’s obvious skill behind the camera, too much of “Disorder” bogs down in ill-defined motivations and credulity-straining plot turns.
  2. Kubo and the Two Strings
    It recognizes that our most cherished legends are an endless source of consolation in times of suffering and loss, as well as a vital repository of cultural and generational memory. If that message sounds trite or familiar, it has rarely been driven home with this much conviction and intensity of feeling.
  3. Morris from America
    Much like the father-son bond at its center, the comic drama is warmhearted but never cloying.
  4. War Dogs
    In the end, there’s no outrage in War Dogs — no lacerating insight, no gonzo satiric energy, nothing more than warmed-over cynicism and some mild titters at the spectacle of boys being boys under uniquely deadly circumstances.
  5. Imperium
    A chilling, surprisingly effective crime thriller.
  6. Sausage Party
    The film is not quite smart enough to overcome the clichés and stereotypes it acknowledges but can’t entirely dismantle. At the same time, it often isn’t quite outrageous enough, as if it should be more willing to be outright offensive.
  7. Ants on a Shrimp
    Director Maurice Dekkers stops far short of shooting “food porn” here, instead deftly capturing the often spare beauty of Redzepi and company’s rarefied concoctions including, yes, ants on a shrimp.
  8. Blood Father
    Luckily for Gibson fans, the movie’s a small gem: a good old-fashioned chase picture, thickened with pulp.
  9. Anthropoid
    The movie both embraces and questions the romance of heroism, a provocative paradox that would have had more dramatic oomph if the screenplay were less staid, the characters more fully fleshed.
  10. Downriver
    Downriver is the kind of graceful provocation that slips around a corner before you can pinpoint its intentions, and that keeps it arresting as both an inquiry and a character study.
  11. This Last Lonely Place
    The cryptic and mysterious story is crammed with overwrought issues — cancer, divorce, fraud, war — which the characters then over-explain.
  12. The Model
    Matthiesen offers no easy answers, but The Model paints a decidedly unglamorous picture, while pulling back the curtain on the exploitative realities of the business.
  13. Sole Proprietor
    The movie sports more personality than most low-budget thrillers, yet sometimes devolves into the kind of ponderousness that a collaborator might have second-guessed.
  14. Joshy
    Ultimately, it’s a fascinating depiction of the way men do — or don’t — confront life’s tragedies and traumas.
  15. Abortion: Stories Women Tell
    If there is a through line that unites all the women in Abortion: Stories Women Tell, it’s that they take the potential responsibilities of parenthood very seriously. And no matter how tough and self-reliant they are, this decision is always an impossible one, and one that the outside world's unbending attitudes do not make any easier.
  16. Pete's Dragon
    Experiencing Pete's Dragon is like seeing something thought to be extinct, a creation every bit as magical and mythical as the flying, fire-breathing beast its named after. That would be the straight ahead, unapologetic family film.
  17. Emily & Tim
    An intriguing casting gimmick can’t mask a story — and a relationship — that’s largely unremarkable.
  18. Neither Heaven Nor Earth
    Neither Heaven Nor Earth is a case of the inexplicable rendered without forced mysticism or explanation, but rather explored with a clinical dramatic focus that somehow boosts the eeriness.
  19. Edge of Winter
    A frostbitten B-movie can still provide a little welcome relief in the dead of summer. Edge of Winter suffices as a diverting breath of recycled cool air.
  20. The Fight Within
    The Fight Within is too generic as a sports flick, and too pro forma as a tract. There’s more vitality and humanity in the closing-credits blooper reel than in anything in the actual picture.
  21. For the Plasma
    [An] annoyingly oblique exercise in arty affectation.
  22. Front Cover
    Unfortunately, writer-director Ray Yeung leapfrogs over several key emotional beats and points of credibility. At the same time, he plies an ambitious slate of social, sexual and cultural messages, some more fully formed than others.
  23. Hell or High Water
    That Hell or High Water makes you empathize with and understand (though not excuse) each member of this disparate quartet is a tribute to the way Taylor Sheridan’s screenplay works equally well as a thriller, character study and pointed social commentary.
  24. Florence Foster Jenkins
    It’s a film that dares you to give it a bad review, simply so it can turn around and call you a bully who picks on the people who try. It invites you to giggle at Florence’s horrible singing and then promptly scolds you for laughing, creating a contradiction that goes unreconciled.
  25. Little Men
    Ira Sachs’ beautifully observed Little Men zeros in on teen-spirit qualities that might, by conventional standards, be considered less cinematic: creativity and innocence, a tender spark brought to life by terrific newcomers Theo Taplitz and Michael Barbieri.
  26. Nine Lives
    The most disappointing thing is that Nine Lives doesn’t even dare to be an audacious mess. It’s a Frankenstein’s monster of Hollywood’s worst instincts, a movie made with a math formula where its vision should have been.
  27. The Tenth Man
    The Tenth Man is a low-key charmer, an unlooked-for combination of Jane Austen and Isaac Bashevis Singer. With a twist of Buenos Aires thrown into the mix.
  28. Embers
    While one wishes Carré, who shares screenplay credit with Charles Spano, might have hung those stirring visuals on more involving plotting, Embers nevertheless makes a strong, not to mention timely, impression.
  29. Sun Choke
    With a highly stylized form, and thick, syrupy ribbons of blood splashing everywhere, Sun Choke evokes a creepy, eerie vibe, but it’s difficult to muster more than a passing interest in the story, because we don’t know who this girl is, or why she does these things.
  30. Amateur Night
    The film insistently asserts its autobiographical roots at the expense of sharper plotting and characterizations, not to mention more energetic pacing.
Page:

Top Trailers

See all »
See all trailers »