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. Cloro
    If we have to work a little harder to invest in Cloro's transporting story, so be it. For serious filmgoers, it will be worth it.
  2. Stealing Cars
    While we may have been locked up with these characters before...Cohen's unwavering commitment nevertheless commands attention.
  3. Standing Tall
    If director Emmanuelle Bercot's feature isn't always dramatically satisfying, it is fueled by the fine, flinty chemistry of Catherine Deneuve, Benoît Magimel and newcomer Rod Paradot.
  4. Natural Born Pranksters
    It’s appropriate that the Natural Born Pranksters take their name from the film “Natural Born Killers,” because this group of YouTube stars just murdered prank-based humor. RIP pranks.
  5. Mexico's Bravest Man
    Minn's homegrown filmmaking style creates an absorbing intimacy and urgency. But placing Leyzaola's story within a broader national, even international context may have helped further illuminate Mexico's complex, at times contradictory system of crime and punishment.
  6. Transfixed
    A sensitively wrought profile in courage, hope and self-respect that's truly transfixing.
  7. Someone Else
    Those taking in Someone Else, an unconvincing, nonlinear drama about a pair of dramatically different Korean American cousins who are attracted to the same woman, will soon likely be wishing they had chosen to watch something else.
  8. Kill Me, Deadly
    There's lots of throwback fun to be had from Kill Me, Deadly, a lovingly mounted and performed film noir spoof that evokes "The Big Sleep" by way of "The Naked Gun" and "Dead Men Don't Wear Plaid."
  9. They Will Have to Kill Us First
    They Will Have to Kill Us First doesn't offer much of a primer on Mali's political or cultural histories — which is the movie's biggest weakness. But Schwartz did capture some remarkable footage of musicians who've spent the last few years taking tentative steps to reclaim what makes their nation special.
  10. Baskin
    Baskin won't be for everybody, but it's well made and imaginatively upsetting.
  11. The Dark Horse
    If its wobbliness doesn't always serve its commanding central performance, the movie does mark a sensitive, low-key approach to outsiders of any kind, one that legitimizes their struggle without selling them as ready-made saints.
  12. The Girl in the Photographs
    There isn't enough mystery and ambiguity around the murders to create a sense of fear or dread, yet there's something rather effectively creepy and compelling, with its retro thrills and chills
  13. Notfilm
    For all its gifted collaborators, "Film" was not a match made in heaven. But for moviegoers who care about film not just as a title, Notfilm can be unreservedly recommended.
  14. Kill Your Friends
    The movie — glibly admiring of its hero's awfulness — is tone-deaf about genuine satire, assuming anything ugly (insults, nihilism, bloody violence) qualifies as sharp cultural commentary as long as the unceasingly venal, knowing narration explains it all for us.
  15. Rescue Dogs
    There just aren't enough rescue dogs in the world to save "Rescue Dogs," a shrill, yappy live-action comedy that proves considerably more annoying than adorable.
  16. Pandemic
    Pandemic proves serviceably frightening, if sporadically gory, maximizing tension derived from unknown dangers lurking in dark corridors and behind closed doors.
  17. April and the Extraordinary World
    This is one grand adventure, and, animated or not, those are always welcome.
  18. Miles Ahead
    The sophistication gap between the character Cheadle has created and the film that contains him is so great it begins to feel like you're watching two different stories that have been unaccountably spliced together.
  19. Everybody Wants Some!!
    The ostensible college comedy Everybody Wants Some!! is like a stream that looks shallow but once you're in the middle of it reveals an unforeseen depth.
  20. Valley of Love
    It's illuminating to see Huppert and Depardieu in a different mode, and Huppert brings a delicate physical and emotional fragility to her role. These two are fantastic, and they're fantastic together.
  21. Born to be Blue
    By reducing Baker's story to just a couple of pivotal years, Budreau makes every moment matter, including a tense final scene that treats the preparation for a performance like a duel at high noon. Like Baker himself, Born to Be Blue finds drama in minimalism.
  22. Take Me to the River
    Take Me to the River reaches its end sadder and wiser if not satisfactorily complete as a psychodrama. But Sobel thrives on the unevenness, and it gives his admirably off-putting wade into fractured-family waters its own specialized charge.
  23. No Letting Go
    No Letting Go has all the subtlety of an after-school special, and the performances feel like they're from a public service announcement about mental illness.
  24. Mapplethorpe: Look at the Pictures
    In the new documentary Mapplethorpe: Look at the Pictures, directors Fenton Bailey and Randy Barbato do an ultra-fine job tracing a born provocateur's commitment to his calling.
    • 79 Metascore
    • 80 Critic Score
    Mountains May Depart
    Sequences in which Tao helps an ill friend and deals with the death of a parent are as finely staged and acted, as sorrowful and transcendent, as anything ever to grace the screen.
  26. Lolo
    This strained, often crass comedy traffics in broadness and inconsistency far more than anything smart, clever or dimensional. That might be more forgivable if the film was at least funny. It's not.
  27. They're Watching
    The movie doesn't do justice to a promising premise. A scarcity of laughs and scares limits this property's curb appeal.
  28. I Saw the Light
    I Saw the Light is solid but not spectacular, a retelling of a sad story that never catches fire.
  29. Jane Wants a Boyfriend
    "Jane's" affecting emotional core and cathartic conclusion carry the day.
  30. Get a Job
    The payoff is sporadically rewarding at best.
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