Los Angeles Times' Scores

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For 16,526 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 2.3 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: 8,699 out of 16526
  2. Mixed: 5,810 out of 16526
  3. Negative: 2,017 out of 16526
16526 movie reviews
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  1. Omar
    What happens when Omar is outside the prison walls, and how his world and his relationships are reshaped by the realities of broken trust and betrayal, make for gripping and heartbreaking watching.
  2. 3 Days to Kill
    The film is helped by Costner's self-deprecating, aw-shucks charm. The actor is game whether he's being asked to fight off truculent teens or treacherous terrorists.
  3. Child's Pose
    A ferocious psychological drama with the pace of a thriller, Child's Pose combines, as have the best of the Romanian new-wave films, a compelling personal story about mothers and sons with an examination of socio-political dynamics in a way that is both intense and piercingly real.
  4. In Secret
    A film rich in atmosphere but emotionally as blunt as its title.
  5. Pompeii
    Part sword-and-sandal spectacle, part disaster epic, Pompeii accomplishes its ambitious agenda to largely engrossing effect.
  6. Holy Ghost People
    Though it boasts great performances and urgent, intimate camera work, "Holy Ghost People" diminishes as it progresses, enervated by its prioritization of scares over cohesion and a voice-over that tells everything it should show.
  7. The Pretty One
    Had the movie itself been more focused as a story of messy loss — and not played tonal Twister with its high concept — it might have better served its freshly oddball lead.
  8. Black Out
    In terms of character and plot, not one element of the intended wild ride escapes self-consciousness or becomes the least bit involving.
  9. Barefoot
    It's dispiriting enough that we're still getting movies about the cute side of mental illness, but to turn someone rendered childlike by abusive trauma into desirable girlfriend material — and sporting cast-off stripper attire to boot — is more than a little creepy.
  10. Angels in Stardust
    When it comes to finesse or originality the first-time filmmaker falls desperately short, relying on hoary clichés; dreadful, chicken-fried dialogue; and an often cracked moral compass.
  11. Almost Human
    While the cast and crew's competence well exceed what anyone would expect from this breed of B movies, they cannot compensate for the flawed internal logic in the screenplay.
  12. A Stranger in Paradise
    Corrado Jay Boccia's directorial debut strikes as almost passable, with a relatively known cast and elaborate stunts. But his inexperience rears its ugly head as the film never musters real suspense and urgency.
  13. Girl on a Bicycle
    Jeremy Leven's attempt at old-school romantic comedy, set in a postcard-pretty tourist's vision of Paris, is more of a foolish plod than a weightless rollick.
  14. Hank: 5 Years from the Brink
    For all of the substantive issues underpinning the documentary, it still feels a slight film for Berlinger, and very unlike the documentary veteran's best work, found in his dogged following of the West Memphis Three case.
  15. Visitors
    In practice this mélange of imagery is aimed more at the inside of Reggio's head than anywhere else. Unless you are able to get on his quasi-experimental wavelength, a dicey proposition at best, Visitors will miss your solar plexus entirely and instead put you right to sleep. With one exception.
  16. About Last Night
    The cast does what it can with — and clearly self-improves upon — the essentially thin, at times choppy material.
  17. Adult World
    Brimming with sharp asides and clever throwaways...plus astute observations on literary pretension and misguided youth, Adult World is a winner.
  18. Beijing Love Story
    Some stories drag while others have zing in this anthology; binding them is a compelling sense of cultural identity — the tension between tradition and free-market modernity.
  19. Date and Switch
    The film's more heartfelt moments are what ultimately work best.
  20. Endless Love
    Every time things between blue-collar David (Pettyfer) and pretty, privileged Jade (Wilde) get sticky — either kissy/gooey or teary/hurt-y — and the film could go deep, "Endless" morphs into music video territory.
  21. Winter's Tale
    Because it is fearlessly sincere and not totally successful, Winter's Tale is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures.
  22. Down and Dangerous
    It's so predictable in its beats and pedestrian in its execution that a viewer can slip in and out of consciousness, confident she won't miss much and will know exactly where in the story she is when she awakes.
  23. The Returned
    Though an admirable shake-up of the typically overbearing, munch-intensive undead yarn, The Returned is still a far cry from the smarts-and-shocks zombie allegories George Romero mastered.
  24. Easy Money: Hard to Kill
    The emotional moments never land.
  25. RoboCop
    Although the movie isn't a complete disaster, it's not your father's RoboCop either.
  26. A Fantastic Fear of Everything
    The dreary, loud, amateurish horror-comedy A Fantastic Fear of Everything...isn’t terribly interested in logic. Or continuity. Or filmmaking acumen. Or, most glaringly, laughs.
  27. The Last of the Unjust
    The Last of the Unjust, like Lanzmann himself at his advanced age, is ungainly but powerful.
  28. In Bloom
    You can feel how personal a film In Bloom is and how promising a first feature this is for one of the country's new wave artists.
  29. Welcome to the Jungle
    It is difficult to tell whether the filmmakers intended Welcome to the Jungle as a satire or a farce. It is neither funny enough, nor clever enough, to measure up in either case.
  30. The Monuments Men
    It can't decide what kind of a film it wants to be and so ends up failing across a fairly wide spectrum.
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