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. Lambert & Stamp
    Under their all-encompassing tutelage the band originally billed as the High Numbers would go on to international renown as the Who, and the extent to which Lambert & Stamp can take credit for that transformation is thoughtfully weighed in this revealing film.
  2. Furious 7
    Furious 7 is the fuel-injected fusion of all that is and ever has been good in "The Fast and the Furious" saga.
  3. Woman in Gold
    It's regrettable that Woman in Gold is no more than adequate, more old-fashioned Hollywoodization than incisive modern dramatization.
  4. While We're Young
    This delicious satire about aging hipsters and their discontents is everything we've come to expect from the best of Noah Baumbach, as well as several things more.
  5. 3 Holes and a Smoking Gun
    Director Hilarion Banks dutifully captures all of it in a series of nicely shot extended takes, which would have been fine if the cast had been able to interact in some sort of uniform tone.
  6. Little Feet
    It's excusable for a sheltered novice filmmaker to be out of touch like this, but not for a veteran.
  7. The Mafia Only Kills in Summer
    Ambitious, sometimes clever but largely sputtering, The Mafia Kills Only in Summer works better as a childhood memory piece than as an adult tale of love and larceny.
  8. Marfa Girl
    For all its meanderings and indulgences — verbal and visual — this free-form snapshot of a circle of townsfolk in tiny Marfa, Texas, proves a sneakily immersive, weirdly memorable affair.
  9. Apartment Troubles
    With the excruciating gal-pal comedy Apartment Troubles, writer-director-stars Jess Weixler and Jennifer Prediger have created such blurry, unappealing characters that their film is hamstrung from the get-go.
  10. Nightlight
    Filmmakers Scott Beck and Bryan Woods water down the element of surprise, even if they get the found footage shtick down to a science.
  11. A Girl Like Her
    Although the storytelling technique may feel innovative, the story itself is not.
  12. Jauja
    Jauja makes one cryptic leap too many at the end, but until then it evocatively confounds.
  13. Backcountry
    Backcountry inevitably brings on the bloody, but it finds atmospheric ways to depict how the bucolic hush of a nature getaway can morph into a survival nightmare for the unprepared.
  14. Man from Reno
    Like any good purveyor of noir, Boyle, who wrote the film with Joel Clark and Michael Lerman, understands that identifying someone is only one endgame while the mystery of identity is naggingly, tragically endless.
  15. Get Hard
    Get Hard... is certainly a better name than, say, Laugh Hard, which you won't do nearly enough.
  16. Serena
    It's absorbing, well-played stuff until Serena's emotional baggage turns her into a kind of lethal Blanche DuBois and melodrama overtakes the film's muscular bearing.
  17. A Wolf at the Door
    A Wolf at the Door is undoubtedly effective and well-crafted, but its tale of reckless obsession and its inevitably unhappy ending are finally too unsavory for its own good.
  18. The Barber
    Screenwriter Max Enscoe and director Basel Owies — enamored of twists at the expense of logic and character — might as well have made a clip reel of their favorite cat-and-mouse movies, because their fever-pitch story is as tension-free, transparently obvious and ludicrous as they come.
  19. Home
    Tension is one of Home's biggest issues. There just isn't nearly enough of it. Story is another.
  20. Sex and the Single Alien
    Had Daskaloff found an appropriately campy groove, he might have eked out some sexy-silly fun. As it stands, the film proves a cheesy, half-baked and decidedly retrograde effort.
  21. Earth's Golden Playground
    It might also have been nice to have included some archival footage that would have illustrated how little the Yukon River setting has changed over the last century, but Horvath appears to have no interest in digging any deeper.
  22. 3 Hearts
    The overwrought plot mechanics are exasperating, but the lead actresses' exquisitely modulated performances get under the skin.
  23. Dreamcatcher
    While Dreamcatcher lays bare some of the horrific violence and victimization that many women face, the film is ultimately hopeful, a testament to the strength and resilience that can be found in sisterhood.
  24. Seymour: An Introduction
    Ethan Hawke's documentary on pianist Seymour Bernstein is very much like the sonatas Bernstein plays so beautifully, teaches so insightfully — quietly moving, infinitely deep.
  25. Like Sunday, Like Rain
    Whaley nicely calibrates this wistful dramedy's emotional quotient, never allowing sentiment to turn into sap.
  26. Danny Collins
    Ostensibly exploring a monumental what-if in a musician's life — a late-career reckoning that aims to make up for lost time — the movie is itself a missed opportunity, especially given that it stars Al Pacino.
  27. Amour Fou
    That writer-director Jessica Hausner moves things along at such a glacial pace and fills her velvety frames with the equivalent of museum-quality oil paintings instead of with living, breathing humanity, only adds to the film's turgid quality.
  28. Lost and Love
    By ambitiously aiming to encompass the full scope and complexity of the social pandemic, Lost and Love winds up being all over the map.
  29. Ghoul
    Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.
  30. Zombeavers
    Despite the deliberately schlocky effects and puppetry, other aspects of the filmmaking are surprisingly satisfactory. It needs to be only one notch more bonkers to help its chances for cult status.
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