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. The Banshee Chapter
    The central drama never fully engages, but the jolts that Banshee delivers are check-the-locks scary.
  2. Free Ride
    The result, while sincere and nicely evoked, feels choppy, familiar and, despite the script's heavily stacked deck — and a few harrowing episodes — lacks sufficient momentum.
  3. Evangelion: 3.0 You Can (Not) Redo
    Desiccated by its pretensions, it's freeze-dried melodrama.
  4. Paranormal Activity: The Marked Ones
    The Marked Ones is refreshingly uncynical and straightforward in its desire to simply be a movie that makes the audience jump and be scared. It's a fun fright film and wants to be nothing more.
  5. Interior. Leather Bar.
    Unfocused lapses aside, though, the film is intriguing and discomforting in equal measure, using its brief running time to frame thoughtful, boundary-pushing questions.
  6. It's Better to Jump
    This brief film often feels like an extended gripe session instead of something more profound or game-changing.
  7. Expecting
    The movie's early promise fades, however, as an Apatowian crassness descends upon the comic situations, churlishness gets mistaken for rawness, and sweetness starts to feel manipulative instead of natural.
  8. Commitment
    Boilerplate shootouts and conflagrations get the better of the movie's second half, but for the most part, first-time director Park Hong-soo strikes the right balance between take-no-prisoners espionage and teenage angst.
  9. For No Good Reason
    The inventively shot and constructed documentary For No Good Reason is an absorbing look at the unique, surreal work of British cartoonist Ralph Steadman.
  10. Angels Sing
    The juxtaposition of such country-music icons with the story's cringe-worthy treacle has one siding with Michael's bah-humbug attitude.
  11. Twice Born
    The drama is undone by hyperventilating poetics and a busy time-hopping structure.
  12. Swerve
    As it zigs and zags, its plot unravels rather than tightens, and its curveball of an ending is bound to leave audiences feeling as double-crossed as some of the characters.
  13. A Journey to Planet Sanity
    It mostly plays like a slapdash mockumentary crossed with a bad reality TV show.
  14. Hollywood Seagull
    When a director merely goes through the motions, even Chekhov can be reduced to daytime soap.
  15. August: Osage County
    Despite the story's melodramatic contrivances the creation of characters we actually care about is beyond this film's capabilities.
  16. Wrong Cops
    This meandering lark about a corrupt, spiteful and hopelessly distracted police force in a decriminalized, sun-scorched city never quite finds the funny bone.
  17. The Selfish Giant
    The Selfish Giant is devastating social realism in the mode of Ken Loach's "Kes."
  18. Labor Day
    The film finds its footing as the weekend progresses and the temperature and tension — outside and in — rise.
  19. The Invisible Woman
    The Invisible Woman is an exceptional film about love, longing and regret. It's further proof, if proof were needed, that classic filmmaking done with passion, sensitivity and intelligence results in cinema fully capable of blowing you away.
  20. Grudge Match
    Grudge Match never settles on the movie it wants to be, wavering uncertainly between a jokey old-guys comedy and something more dramatic and heartfelt.
  21. Lone Survivor
    Berg, who wrote and directed, is more interested in how men deal with battle than the ideals or the politics that put them there. What the movie achieves, with a gruesome energy and a remarkable reality, is a firefight.
  22. 47 Ronin
    Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  23. The Secret Life of Walter Mitty
    Stiller's sensibility creates a movie that's smarter than you think it will be.
  24. The Wolf of Wall Street
    A very fast three hours, Wolf is a fascinating, revolting, outlandish, uproarious, exhilarating and exhausting master work on immorality.
  25. The Past
    As the secrets that almost everyone is hiding slowly but inexorably come to light, Farhadi's gifts as a very specific director, someone who knows exactly how he wants every scene to be played, come to the fore, adding honesty and involvement to a plot that might seem artificial in other hands.
  26. Walking with Dinosaurs
    A hyper-realistic-looking, character-driven story of survival with talking dinosaurs that can't decide whether to inform or entertain. The film and its featured creatures do a little of both but modestly.
  27. White Reindeer
    Writer-director Clark's commitment to a deadpan vibe of crisp comic kink amid eccentric, left-turn sorrow can sometimes feel condescending. But within this not-so-jolly trip into the detailed recesses of simmering suburban emptiness, Hollyman takes this woman's barely controlled dignity on a quietly brave, revealing ride.
  28. Coyote
    Writer-director Joe Eddy's debut is sincere but relies on obvious tropes.
  29. Breakfast with Curtis
    Beyond this general outline, plot and character development are afterthoughts, or maybe never-thoughts.
  30. Dancing on a Dry Salt Lake
    The film's lack of momentum makes the pace stultifyingly slow, but it's the script's reliance on the musty Wise Indian trope that makes "Dancing" dead on arrival.
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