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. Silver Circle
    There's plenty of action, some ping-ponging romance and even a bit of tension as Silver Circle spins its muddled tale. But it's all so overwhelmed by the rudimentary, computer-generated animation (characters don't so much walk as lurch and glide) that, well, the medium becomes the message.
  2. The Story of Luke
    The Story of Luke is not a saga of epic proportions, but with a huge assist from Pucci's layered performance, takes a premise that could easily be movie-of-the-week sappy and finds a humanizing lightness.
  3. Free Angela & All Political Prisoners
    Lynch's film is a work of steady chronological progression. Without straining for big-picture significance, it provides a composed look into the revolutionary spirit.
  4. Neighboring Sounds
    [Filho's] mastery of pacing, theme and stylistic eccentricity throughout Neighboring Sounds is so assured as to be breathtaking. Don't miss it.
  5. The Company You Keep
    The Company You Keep is a shrewder, more satisfying piece of filmmaking than we've seen from Redford in a while, though not quite in the league with his best behind-the-camera work.
  6. Babe's and Ricky's Inn
    Music in Babe's and Ricky's is righteous and raucous and easy to come by, but the story of Mama Laura is more elusive. And that is the frustration.
  7. Trance
    It starts out like a house afire, but by the time it's over we're the ones feeling burned. A slick heist tale with more twists than sense, this is one movie that ends up outsmarting itself.
  8. Evil Dead
    It's unlikely the movie will gain the same ardent following as Raimi's debut, but it offers enough good-time gore, goofiness, scares and screams to leave an audience feeling a certain elated exhaustion.
  9. Tattoo Nation
    A vivid portrait that should satisfy aficionados and intrigue the curious. Ink-averse viewers, however, may remain unsold.
  10. Tyler Perry's Temptation
    Perry's ongoing disinterest in improving as a filmmaker is now seemingly part of his unshakable belief in himself, his insistence on doing his thing his way.
  11. Molly's Theory of Relativity
    At times, Lipsky's storytelling is too cutely self-aware, trying too hard, making Molly's Theory of Relativity something of an intriguing, if not entirely successful, exoticism.
  12. The Place Beyond the Pines
    The movie is intimate in its telling, sweeping in its issues and stumbles only occasionally.
  13. Welcome to the Punch
    Writer-director Eran Creevy shows himself to be well versed in the mythic sweep of Christopher Nolan's and Michael Mann's crime sagas, if not their intelligence with storytelling.
  14. Rescue in the Philippines
    "Rescue" features excellent archival footage plus a rich array of recent interviews.
  15. Wrong
    "Rubber" felt inventive and complex, but here Dupieux's absurdism is simply muddled, masking the fact he doesn't really have much to say.
  16. Eden
    Eden is never less than suspenseful, but rather than sentimentally pander to easy outrage, or indulge in icky women-in-distress titillation, the movie...zeros in on the details of how dignity can be stripped like bark from a tree, and the queasy determination it takes to stay alive in a living hell.
  17. Detour
    For all the ways Dickerson vigorously dramatizes the stages of solitary confinement — nervous humor, fear, rages, survival ingenuity (including a nifty breathing apparatus) — it's never enough to explain why this particular individual's story is worth telling.
  18. Mental
    Writer-director P.J. Hogan may have based Mental on an actual incident from his childhood, but the crazy quilt of a movie that resulted feels anything but real.
  19. Gimme the Loot
    Filmmaker Leon has deftly structured Gimme the Loot as a picaresque tale, an anecdotal, observational film that introduces us to all manner of eccentric and original characters. Will Malcolm and Sophia get what they want, what they need, or something in between? The only sure thing is that being along for the ride is pleasure of the most unexpected sort.
  20. The Host
    The story goes slack onscreen, so much so that the movie's two-plus hours will seem an eternity.
  21. Family Weekend
    Family Weekend is no worse than many of the dysfunctional family comedies that populate the Sundance Film Festival — "Little Miss Sunshine" is name-checked within the movie itself — but isn't any better either.
  22. Renoir
    Renoir is a lush, involving film.
  23. Blancanieves
    In an attempt to be both modern and traditional, this gorgeously made film ends up betwixt and between.
  24. G.I. Joe: Retaliation
    It's massive, all the retaliation and the world saving stuff. And it's convoluted. Frankly no one should have to think that hard to keep up with the Joes.
  25. The We and the I
    Moving somewhat obviously toward denouement, the film hits a false note or two. But mainly it's exhilarating in its refusal to make smooth what's messy, inchoate and tenaciously alive.
  26. Olympus Has Fallen
    [Antoine Fuqua] gives in to terrible instincts here, flirting with overwrought patriotism, one too many laugh lines amid numerous characters being shot in the head, and a general chaos-inspired editing technique all too rampant in today's action cinema.
  27. Bob's New Suit
    With good intentions and a warm heart but undone by uneven performances and shaky storytelling, Bob's New Suit never quite finds the right fit.
  28. Starbuck
    As amiable art-house fluff, it's a passable way to kill time.
  29. Silver Case
    Anyone seeking an empty-headed, derivative joy ride through crime-comedy conventions could do far worse than Silver Case, a brisk, good-looking and never dull B movie.
  30. Reality
    Garrone achieves something uniquely colorful, disturbing and trenchant about self-perception in an increasingly fishbowl-like society.
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