Los Angeles Times' Scores

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For 16,526 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 2.3 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: 8,699 out of 16526
  2. Mixed: 5,810 out of 16526
  3. Negative: 2,017 out of 16526
16526 movie reviews
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  1. Absolutely Fabulous: The Movie
    Absolutely Fabulous: The Movie is a raucously funny, often endearing, subversively feminist, bloody good time.
  2. Lights Out
    Bello gives a tremulous wacko-mom performance from which she has eliminated every whisper of camp. She’s both sympathetic and infuriating, and her scenes with her daughter hint at a more painful, complicated emotional history than the movie has time to explore, though it’s nice that it bothers to explore it at all.
  3. Star Trek Beyond
    Fun but in a careful way, the film lasts just two hours, but it can seem much longer than that.
  4. Undrafted
    The unfocused Undrafted ultimately possesses all the dramatic intrigue of an intentional walk.
  5. Lucha Mexico
    An insightful and wildly entertaining look at the wrestlers who ply their trade south of the border.
  6. Under the Sun
    One of the most fascinating things about Under the Sun is the contradictory thoughts it inspires.
  7. Yarn
    It’s an inspiring portrait of a truly feminist mode of art.
  8. Outlaws and Angels
    While Mollner elicits some strong performances — especially from Francesca Eastwood as a vengeful farmer’s daughter — Outlaws and Angels can’t overcome its distractingly showy camera moves or its tendency toward scenes that drag on interminably.
  9. Norman Lear: Just Another Version of You
    For a movie about the creator of some of the most pointed, controversial comedies in television history, Norman Lear: Just Another Version of You has a curious habit of sidestepping some of the thornier and more interesting aspects of its subject’s life.
  10. Men Go to Battle
    Men Go to Battle isn’t always effective, in that way DIY filmmaking sometimes irritates by deliberately avoiding “moments.” But as an offbeat lens through which to view an oft-mined era, it has a quiet pull.
  11. Equals
    Equals walls itself off from the suspense implicit in its scenario — it’s practically an anti-thriller — and barely flickers to life as a tale of forbidden desire.
  12. Café Society
    Cafe Society is of course funny, but it also ends up, almost without our realizing it, trafficking in memory, regret and the fate of relationships in a world of romantic melancholy where, as someone says, "in matters of the heart, people do foolish things."
  13. The Infiltrator
    It’s Cranston’s most accomplished and subtly layered film performance to date.
  14. Ghostbusters
    A cheerful summer lark that briefly achieves comic liftoff but peters out well before its overblown Times Square climax, it proudly demonstrates that mediocrity — whether in the hunting of malevolent apparitions or the making of a mainstream comedy — is not, and never has been, an exclusively male pursuit.
  15. Ovation
    There truly is no business like show business, and Ovation perfectly captures that.
  16. At the Fork
    At the Fork serves up an even-handed perspective on the subject of eating ethically.
  17. How He Fell in Love
    The story, although intelligent, is not quite unique or essential enough to merit the film’s protracted running time.
  18. Nuts!
    The real skill in Lane’s colorful tale about self-made millionaire, “inventor” and maverick John R. Brinkley is that it revels in how fun it is to believe in the unbelievable, and how sinisterly effective the mixture of fact and fiction can be. That includes, Lane eventually reveals, documentaries themselves.
  19. Carnage Park
    Most B-pictures imitate other movies, but writer-director Mickey Keating’s Carnage Park steals so freely that it almost becomes derivative in an original way.
  20. Cell
    King worked on the script for Cell, which isn’t that surprising given that many of the worst adaptations of his work have his name on them. It only proves how hard a job it is to adapt King. Even the author himself can’t ace it.
  21. Cold War 2
    Although it contains its share of diverting shootouts, car crashes and explosions, this self-serious film mostly evokes a forgettable TV police procedural.
  22. The Dog Lover
    The film’s prevailing theme may be that nothing is black and white, but the execution, with its strident lobbyists, salt-of-the-earth farmers and onscreen admonition to “investigate before you donate,” proves spottier than a kennel full of caged Dalmatians.
  23. Fathers and Daughters
    No amount of star power can save the script by Brad Desche.
  24. Our Little Sister
    A delicate, unforced meditation on the bonds of family and the joys and wonders hidden in everyday life, this film is able to move audiences without apparent effort, and that must be experienced firsthand to be appreciated and understood.
  25. Mike and Dave Need Wedding Dates
    On the wildly uneven rollercoaster that is Mike and Dave Need Wedding Dates, the lows far outweigh the highs.
  26. The Secret Life of Pets
    Resisting the temptation to invest its characters and storytelling with any particularly winsome, distinctive qualities, the film quickly devolves into an infernally busy and overextended chase sequence crammed with desperately unfunny comic patter and noisy, pointless action.
  27. Zero Days
    Gibney’s film cuts across subjects and genres with its own fluid, quicksilver intelligence.
  28. Captain Fantastic
    By the end, Ross’ initially disarming fusion of cleverness and whimsy has curdled into a dispiritingly familiar mix of sentimentality and self-satisfaction.
  29. Buddymoon
    Had the film and its poky lead characters at least managed to pick up the sluggish pace, experiencing Buddymoon wouldn’t have felt like such a slog.
  30. Our Kind of Traitor
    It’s competently made, well-acted and largely intelligent, so why isn’t the spy thriller Our Kind of Traitor more rewarding? Perhaps it’s the feeling that we’ve trod this kind of twisty treachery on screen ad infinitum since before the Cold War-era stylings of Alfred Hitchcock — and far more vividly.
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