Los Angeles Times' Scores

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:
16526 movie reviews
  1. [An] enjoyable documentary.
  2. Regrettably, Men at Lunch obsesses over disappearing ghosts instead of the records we already have and the history we should know.
  3. Filmmakers Martha Shane and Lana Wilson, whose profiles in courage are sympathetic but not adulatory, have crafted an absorbing, thoughtful report.
  4. Megumi Sasaki's follow-up to her first documentary, 2008's Herb & Dorothy, is as engaging and unpretentious as its subjects.
  5. Who would have thought one of the most amusing and oddly insightful romantic comedies would be built around the power and the potent pull of porn?
  6. Wolf Children is rather an odd story, told in a one-of-a-kind style that feels equal parts sentimental, somber and strange.
  7. Reich and documentary director Jacob Kornbluth turn out to be the ideal collaborators to tell the story of what that gap is, why it happened and why it's important, all in a totally engaging way.
  8. Like the family, the film occasionally comes apart at the seams. But Childers and Garner are absolutely mesmerizing as Iris and Rose.
  9. It is the inventive design of the many creatures that feels so fresh. The detail is so rich, and so dense, that you wish some of the frames would freeze so you had more time for savoring.
  10. The Trials of Muhammad Ali is a complex and involving documentary.
    • 61 Metascore
    • 50 Critic Score
    The problem is that Antal and Metallica took two different movies — a fine live-band document and a supernatural end-of-days romp — and smashed them together to make both of them more boring.
  11. Cleaver's Destiny" is an earnest but ultimately amateur production on all fronts that misses an opportunity to deal seriously with topics writer-director-star Karl Lentini obviously cares about.
  12. We Came Home has its amateurish side, but it's effortlessly affecting when showing how music acts as an extended hand across generations and cultures.
  13. An exhilarating vérité work by first-timer Manuel von Stürler, the documentary follows this seasonal migration, or transhumance, with a sense of quiet awe and intimacy, capturing the feel of cold rain, deep snow and the comforting heat of a campfire.
  14. Johnny Severin and Nicholas David Brandt's otherwise clever and original script takes an unexpected turn at nearly every intersection, resulting in a funny and big-hearted coming-of-age romance.
  15. Regrettably, the subtitles fail to capture Sul and Moon's witty wordplay — but their snappy, prickly chemistry is obvious to all.
  16. It's unique, powerful stuff.
  17. The film is as heartbreaking as it is heart-stopping.
  18. The genre elements of the romantic comedy Wedding Palace attempt a transpacific transit, but get lost in translation.
  19. Baggage Claim promotes painfully outdated social mores.
  20. It's just all too breezy to have any real effect.
  21. Heartbreaking, haunting and unexpectedly heartening, First Cousin Once Removed is an uncommonly moving documentary portrait of a mind in disarray.
  22. It is the kind of distinctive, culture-driven drama from emerging filmmakers that I wish we saw more of.
  23. Though one enjoys and appreciates Rush for what it is, it does not thrill the blood the way we have the right to expect a film like this to do.
  24. This 3-D spectacle is less the dance movie that's going to make b-boying cool again than a shill for sponsors' gear.
  25. There are glimmers of thoughtfulness here in the initial characterization of Katie and in her long, slow recovery before she can exact her revenge, but they're ultimately snuffed out by this mound of toxic trash.
  26. The overall sense is of a rushed, simplistic installment in a well-worn biography franchise.
  27. To call this winkfest toward an astoundingly retrograde sliver of Judaism offensive would be, well, offensive to the word offensive.
  28. While the film does not lack production values and panache, Gordon's direction often seems thoughtless.
  29. +1
    In trying to say everything, Plus One reveals it doesn't have much to say at all.

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