Los Angeles Times' Scores

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:
16536 movie reviews
  1. Although a talented cast and crew keep this party lively, the lack of a point becomes a problem.
  2. Because of its strong dialogue and convincing acting, 99 Homes stays on point for quite some time, artfully disguising the film's increasing reliance on plot devices.
  3. The term "inspirational" gets bandied about a lot, but Becoming Bulletproof is thoroughly deserving of that tag.
  4. As horror movies go, this one's not especially tense or scary. Instead, it's eerie, provocative and at times ridiculously violent. The ending feels like a cop-out after so much creative mayhem.
  5. No matter how reflectively mellow the gray-haired, reminiscing interviewees are, the blizzard of featured illustrations from the magazine's '70s heyday offer scads of they-couldn't-get-away-with-that-today laughter.
  6. The electrifying Northern Soul captures the 1970s British club scene of the same name with ethnographic detail and ebullient style.
  7. The film can feel like an infomercial for the foundation, but that doesn't stop the power of the stories from coming through.
  8. Under Mikael Håfström's visually clunky, rhythmless direction, it's a snooze of epic sameness: choppy action scenes, a blankly stern Cusack, and too many allegiance shifts to count or care for.
  9. While the subject is deeply moving — and bringing tissues is recommended — Guggenheim's treatment is restrained, as he deploys inventive storytelling techniques that invite viewers inside Malala's world, to feel her joy, trauma and ultimately forgiveness.
  10. Having its heart and mind in the right place is not enough to make this a better movie than it is.
  11. Australian Mendelsohn (sporting a pitch-perfect American accent) and Reynolds are terrific, each wrapping himself up in the material like a well-worn favorite sweater.
  12. A documentary whose visual magnificence is more than matched by unforgettable characters and political urgency.
  13. Beyond a few nice closing emotional beats, the whole enterprise plays too desperate and slapdash to whip up the goodwill required to sell such thin, far-fetched material.
  14. The Martian is a film that respects the geekiest among us, and that pays off all around.
  15. Labyrinth of Lies too often feels like machine-stamped issue cinema from a moldy Hollywood playbook.
  16. It would be swell if all of The Walk came together as beautifully as the computer effects do, but it would also be churlish not to appreciate what we do have. This film may not talk the talk, but it definitely walks the walk, and for that we are grateful.
  17. A dull, meandering romantic comedy with serious believability issues.
  18. It's a film with a cause, but it's also brimming with drama in the midst of jaw-dropping landscapes.
  19. Like an uncle making a long-winded, embarrassing toast to the bride, Smith may have a lot of defining childhood memories at his disposal, but that doesn't mean they all need to be shared.
  20. There's infinitely more than one anomaly to be found in The Anomaly, a thoroughly nonsensical futuristic sci-fi thriller that makes a case for the perils of vanity projects.
  21. The writer-director, Babak Shokrian, has made an erratic autobiographical film about juggling artistic ambitions and family expectations in L.A.'s close-knit Iranian Jewish community.
  22. The film slowly, painfully declines from merely oddball to awful, with vapid dialogue and muddy character motivations, particularly where Woll's unsympathetic Alice is concerned.
  23. The otherwise congenial film plays itself to a draw because of flat characters and a script that overdoes the melodrama in the service of checking off a series of genre tropes borrowed from sports movies.
  24. Whether you agree with his system-damning rhetoric or see him as no better than anyone else in our clogged punditocracy, Brand: A Second Coming is, if not a careful portrait, at least an orgy of personality.
  25. Prophet's Prey is a sobering reminder that tyrannical monsters who hide behind religion can be homegrown too.
  26. This is a tonally and visually inconsistent piece whose cracks at "Lethal Weapon"-style humor are needlessly silly or simply flat.
  27. The film is a disingenuous, thoroughly dramatized reenactment at best and a reality show at worst.
  28. An organization that stubbornly resists being pigeonholed, the Black Panther Party emerges from this documentary with its significance enhanced but some of its tactics questioned.
  29. Rourke and Wolff certainly have chemistry, and Sarah Silverman (as Ed's concerned single mom) and Emma Roberts (as Ed's potential girlfriend) provide solid support on the edges. But the humor never feels aimed in any particular direction.
  30. Though the movie is not without thoughtful observations on gender roles and the effects of war, Hart's characters tend to speak in poetic truths that call attention to their authorial polish. The cast breathes what life it can into the proceedings, with Otaru particularly impressive.

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