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. Blended
    It could have been a bit smarter and a lot shorter, but Blended, the third big-screen pairing for Adam Sandler and Drew Barrymore (after "The Wedding Singer" and "50 First Dates"), is a fun, often funny, largely enjoyable romp.
  2. How We Got Away with It
    By performing narrative gymnastics, the film sacrifices any possibility for viewers to identify with the characters. Although the film does answer the myriad questions it raises along the way, it would have benefited from more straightforward storytelling.
  3. The Retrieval
    The Retrieval comes at you like a haunting slip of a memory, one that writer-director Chris Eska retrieves from a mostly forgotten era in unforgettable ways.
  4. Wolf Creek 2
    Everything we can gather seems to nullify any virtues we saw in the original film.
  5. Breastmilk
    Audiences will find themselves face to face with their own prejudices, assumptions and, perhaps, squeamishness.
  6. The Immigrant
    Though the film is sometimes as fraught as the immigrant experience, in the end the ideas are so rich, the look so lovely, Ewa's journey so heartbreakingly real, even the flaws seem to suit it.
  7. Million Dollar Arm
    You can see the stuff Million Dollar Arm throws at you from miles away, but that doesn't stop this baseball movie from being genially enjoyable.
  8. Godzilla
    Ironically this big, lumbering movie could have used more, not less. More Godzilla without question, and more emotional content for its very good cast too.
  9. Don Peyote
    All the controlled substances in the world couldn't improve a viewing of the execrable Don Peyote, a tedious, incoherent look at a paranoid stoner's emotional and spiritual unraveling.
  10. Llyn Foulkes One Man Band
    For a movie about art and artists, it's not a particularly visually inspired or vibrantly crafted work. Still, Foulkes... holds interest with his off-kilter narcissism, obsessive creative process and frank views on his place — or lack thereof — in the art world.
  11. A Night in Old Mexico
    This poky, clichéd, slackly told picture, directed by Emilio Aragón, would've felt dated a few decades ago; now it feels like a downright relic.
  12. Stage Fright
    None of it works, really, as either musical satire or genre Chex mix.
  13. DamNation
    DamNation is certainly a picturesque splash of doc advocacy, as long as you don't dwell on the cracks.
  14. Hanna Ranch
    Without passing judgment, Dickman illustrates how Hanna's way of life and personal convictions compelled his politics. He also allows Steve Hanna a fair shot at presenting his version of the events.
  15. Chapman
    The gratingly underdeveloped plot has all the dramatic effect of a toddler with her hands behind her back chirping, "Guess what I've got?" for more than an hour.
  16. Moms' Night Out
    Moms' Night Out is a hectic mess that does just the opposite of what it clearly set out to do: It makes motherhood seem like one of the most ill-conceived ideas since New Coke.
  17. Neighbors
    This raunchy unrooting of a settled suburban idyll exposes the considerable angst of emerging adulthood with a kind of scatological fervor designed to elicit oodles of inappropriate laughs. It succeeds.
  18. Palo Alto
    With Palo Alto Coppola transforms weakness into strength, vulnerability into armor.
  19. NOW: In the Wings on a World Stage
    It's that rare film that captures and conveys the romance of the theatrical experience.
  20. God's Pocket
    The script, written by director John Slattery and Alex Metcalf, drifts too quickly into blue-collar cliches, leaving its interesting collection of characters only half-drawn at best.
  21. The Double
    It is the interplay between Wasikowska and Eisenberg that gives "The Double" both its tension and its charm... Their struggle captivates, the resolution shocks, and you can't help but wonder what windmills Ayoade will tilt next.
  22. Broken
    The film's solid acting, relatable premise and strong emotional core carry the day.
  23. Cyber-Seniors
    Even for the most techno-wary at the Toronto assisted living centers where the movie was primarily filmed, the lure of virtual visitation seems to go a good way toward bridging what's been a large and digitally contoured generation gap.
  24. Redwood Highway
    The script (by director Gary Lundgren with James Twyman) is modestly feel-good to a fault and the scenery expectedly beautiful, but it's the unforced acting providing the most nourishment.
  25. Devil's Knot
    Egoyan, who has never shied away from the lurid aspects of lost innocence, takes a measured approach that successfully avoids sensationalism. But the film's restraint verges on blankness.
  26. Fed Up
    Soechtig puts mainstream clout to work to deliver a hard-hitting message. Her mix of archival material, punchy graphics and concise talking-head commentary traces a troubling modern history.
  27. Chef
    If this all sounds fairly rote, it's far from it. That's because the filmmaker largely eschews done-to-death family dynamics, forced obstacles and predictable responses for authentic interaction, organic humor and a hopeful vitality.
  28. Documented
    The film blurs lines between documentary, reality television and "Candid Camera," with Vargas instigating the proceedings.
  29. Legends of Oz: Dorothy's Return
    If it only had a brain, a heart and the nerve.
  30. Water & Power
    Water & Power remains a quintessential L.A. story that is worth seeing for what it has to say, if not necessarily for how it says it.
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