Los Angeles Times' Scores

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For 16,539 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 16539
  2. Mixed: 5,816 out of 16539
  3. Negative: 2,017 out of 16539
16539 movie reviews
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  1. Percy Jackson: Sea of Monsters
    Skippable 3-D aside, it's a serviceable, limber follow-up to 2010's "Percy Jackson & the Olympians: The Lightning Thief."
  2. More Than Honey
    Producer-director Markus Imhoof tackles a hugely vital subject, but the film's loose structure and lack of a specific through-line don't make for the clearest intake of its, well, swarm of information.
  3. We're the Millers
    We're the Millers is full of moments that feel as forced as the marriage of convenience — and contrivance — in the movie.
  4. Breaking the Girls
    Breaking the Girls isn't exactly a throwaway, but more an extended act of teasing foreplay, a movie that is fine for what it is but also never really shifts into something more.
  5. Europa Report
    While Europa Report does quite well dramatically without breaking any new ground, its great strength is how striking it is visually and the stratagems it employs to make itself memorable.
  6. Rising from Ashes
    As a filmmaker, [Johnston] doesn't always trust his audience as much as he should, opting for overly insistent music and voice-over and withholding information in key areas. But he knew a good story when he saw one, and we can all be grateful for that.
  7. Computer Chess
    Director Andrew Bujalski makes a serious play for his own place in the pantheon of hysterically pretentious pretend.
  8. Drug War
    To has a great mastery of timing; he knows just how long to let a look linger before cutting away, how little he can reveal without losing us. The director keeps you guessing until the very end whether Choi or Zhang, or someone else entirely, will be the last man standing.
  9. The Spectacular Now
    Miles Teller and Shailene Woodley, as high school seniors Sutter and Aimee, bring such an authentic face of confidence and questioning, indifference and need, pain and denial, friendship and first love, that it will take you back to that time if you're no longer there, and light a path if you are.
  10. 2 Guns
    Though individual set pieces are well done, the film inevitably leaves an empty taste behind it once it's done.
  11. The Gardener
    The elder Makhmalbaf, who wrote and directed, puts many spins on this ethereal mood piece — it is by turns poetic, impressionistic, metaphorical and even a bit trippy — without satisfying such genre basics as structure, depth and resolution.
  12. Drift
    When Drift sticks to the likable, gently humorous contours of occasionally fractious brotherly love, broken up by thrillingly shot surfing footage, it has plenty of charm, period flavor and breezy visual breadth... Where the movie routinely disappoints, though, is in pursuit of a perfect storm of conflict story lines.
  13. Cockneys vs Zombies
    There's little that feels fresh, freaky or funny about one more batch of eccentric reactions to hungry corpses, one more attempt to creatively splatter, one more metaphor for zombie invasion.
  14. The Artist and the Model
    The lovely and poignant drama The Artist and the Model stirringly presents art, life and death as one irrevocably tangled trio.
  15. The Smurfs 2
    Just as with the 2011 film "The Smurfs," the new The Smurfs 2 is a passable mediocrity.
  16. The To Do List
    The To Do List is neither supergood nor superbad, but passable doesn't exactly raise the bar.
  17. The Act of Killing
    It's a mind-bending film, devastating and disorienting, that disturbs us in ways we're not used to being disturbed, raising questions about the nature of documentary, the persistence of evil, and the intertwined ways movies function in our culture and in our minds.
  18. The Wolverine
    The Wolverine is an erratic affair, more lumbering than compelling, an ambitious film with its share of effective moments that stubbornly refuses to catch fire.
  19. Blue Jasmine
    The movie is among the filmmaker's most emotionally affecting.
  20. Casting By
    A vivid reminder of the hand-in-glove importance of right actor/right role — and the indispensability of those casting mavens who helped make movie history. Good stuff.
  21. Tiny Times 1.0
    Is it good? No. Is it fun? A little. Is there a makeover montage? Of course.
  22. Wasteland
    The frustrating thing about the British heist flick Wasteland is how it creates two admirably entertaining storytelling strands — one a friendship saga, the other a robbery caper — yet can't merge the two successfully.
  23. The Time Being
    Not to be glib, but sitting through the art-centric chamber piece The Time Being is truly like watching paint dry.
  24. Stranded
    Stranded stops at being merely seriously dull and trite, rather than tipping into train-wreck silliness.
  25. Big Words
    Drumming is able to swing from lighter comedic moments to dramatic insights while making it seem effortless.
  26. R.I.P.D.
    The entire film has an oddly underdone quality to it, as if aiming not for greatness but to simply be passable.
  27. Girl Most Likely
    A tonal jumble, veering between forced farce and tired, rom-com beats, with little feeling real or true.
  28. RED 2
    Red 2 is much more of a mixed bag than it should have been.
  29. Only God Forgives
    The Danish filmmaker's latest theater of the macabre is brutal, bloody, saturated with revenge, sex and death, yet stunningly devoid of meaning, purpose, emotion or decent lighting. Seriously. Artful shadows can certainly set a mood; too many and it merely looks like someone is trying too hard.
    • 72 Metascore
    • 80 Critic Score
    Our Nixon
    It's a haunting, thoroughly evocative ride.
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