Los Angeles Times' Scores

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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
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  1. The Final Master
    Writer-director Xu Haofeng’s movie doesn’t feel like many other movies of its ilk. That’s mostly a good thing, even if the movie can’t quite fit all its eccentric pieces into a satisfying whole.
  2. The Wailing
    What makes The Wailing so unusually disturbing is the almost palpable aura of evil it radiates from calm start to sorrowful finish. More disturbing still is the way that evil can seem indistinguishable from compassion.
  3. Popstar: Never Stop Never Stopping
    The pleasure of Popstar: Never Stop Never Stopping derives not from the sting or accuracy of its satire (though Will Arnett does a pretty killer Harvey Levin), but from the precision of its timing and the singular comic energy it derives from the talents on display.
  4. Stressed to Kill
    This tedious picture botches both the setup and the punchline.
  5. High-Rise
    High-Rise is a stubborn, incoherent wreck of a movie, and I mean that as fairly high praise. You won’t follow everything that happens, but you may feel weirdly at home.
  6. To Life
    More resonant in theory than in execution, the post-Holocaust drama To Life never truly embraces the promise of its title or the roiling emotion beneath its surface.
  7. Princess
    The young actress Haas is riveting in a performance far beyond her years. Princess takes its time, but patience pays off in this sensitive slow burn of a story.
  8. Lasseter's Bones
    The film, like Walker’s trek, occasionally feels like a bit of a slog to those unexposed to the folklore, but it makes some interesting observations in regard to the pursuit of fact over fiction.
  9. ma ma
    The model here may be the florid, female-centered movies of Douglas Sirk, but the effect is as poetic and inspiring as a waiting-room pamphlet.
  10. The Idol
    The rare feature to be shot on location in Gaza, The Idol offers implicit commentary on everyday deprivations and work-arounds. Yet the screenplay stumbles when it plants self-conscious observations in the mouths of characters of all ages.
  11. Presenting Princess Shaw
    With a unique narrative conceit and a highly root-worthy underdog at its center, the movie stands apart as a kind of feel-good, audio-visual experiment.
  12. Holy Hell
    It’s not a complete journalistic picture, unfortunately, and it’s ham-fistedly structured to withhold information for maximum dramatic impact. But that impact, as predictable as it is, hits hard.
  13. The Ones Below
    The chillingly twisty plotting is dispensed in painstakingly measured increments that allow for maximum dread and, ultimately, well-earned shock value, while his four leads deliver equally subtle performances that sync with the pacing beat for beat.
  14. Alice Through the Looking Glass
    At every turn the filmmakers have simplified, banalized and sentimentalized Alice and her psychological landscape in ways that reek of ignorance at best and cynicism at worst.
  15. X-Men: Apocalypse
    Disorganized but engaging, full of visual pyrotechnics and earnest emotion, it is diverting, if not necessarily convincing.
  16. Back in the Day
    Director Paul Borghese, who previously attempted to ape Scorsese with his 2013 mob drama, “Once Upon a Time in Brooklyn,” is content to simply rehash shopworn tropes.
  17. Hard Sell
    It’s hard to keep track of all the old high school comedies that writer-director-producer Sean Nalaboff nods to in his feature film debut, Hard Sell. Eventually, though, the movie finds its own voice and groove, and avoids being a mere retro exercise.
  18. Margarita with a Straw
    Koechlin gives such a remarkably warm, expressive performance (she and Gupta are non-disabled) it’s hard not to be captivated by much of this tender, if choppy film.
  19. Manhattan Night
    It’s not a great movie but a welcome one, if only for how it attempts to revive a whole genre.
  20. A Monster with a Thousand Heads
    Although the title might suggest cheesy sensationalism, A Monster With a Thousand Heads serves as a sobering, all-too-relatable indictment of the bureaucratic Hydra that is the medical insurance industry.
  21. Welcome to Happiness
    While its heart is in the right place, Welcome to Happiness is too fixated on its twee peccadilloes to truly succeed.
  22. The Measure of a Man
    Sensitively handled yet unafraid to elicit squirming, and boasting a seriously affecting turn by Lindon — who won last year’s Cannes award for Best Actor — it’s a miniature portrait of quotidian desperation that nevertheless speaks to the collective psychic moan of job-seekers and those barely holding on everywhere.
  23. Weiner
    Once again, truth proves stranger than fiction in the raucous and provocative documentary Weiner.
  24. Almost Holy
    Almost Holy captures something meaningfully urgent in the brutal day-to-day of tough love amid a world of tougher indifference.
  25. Maggie's Plan
    The writing crackles, and Miller doesn’t waste time getting right at the meat of the story.
  26. Neighbors 2: Sorority Rising
    Title IX has finally hit the college party movie genre and the result is just as goofily funny and mind-bendingly stupid as its testosterone-driven predecessors.
  27. The Nice Guys
    Though the plot here may be a confusing, multi-threaded mess (which may in fact be the script’s truest homage to Chandler), it’s occasionally offset by the exuberance with which Black blends splatter and slapstick, and the leeway he grants his two very game leads.
  28. Serial Killer 1
    While a film like Serial Killer 1 may disappoint anyone expecting “Bullitt” or “Lethal Weapon,” its focus on legwork and motivation could well appeal to fans of “Law & Order” — the TV show and the social construct.
  29. The Asian Connection
    Generically directed by Daniel Zirilli, who shares story credit with Tom Sizemore, the listless Asian Connection may be set in Bangkok and Cambodia but it feels about exotic as an order of take-out Thai.
  30. A Bit of Bad Luck
    Cursed with obnoxiously broad characters and nonsensical plotting, A Bit of Bad Luck is an intended backwoods satire that runs hopelessly off-course from the outset.
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