Los Angeles Times' Scores

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For 16,550 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: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. John Wick: Chapter 4
    Even by series standards, it’s an astonishingly staged and sustained panorama of violence, much of it mediated (and attenuated) by the usual inventive weaponry and bulletproof menswear, and meted out by international action stars including Donnie Yen and Hiroyuki Sanada.
  2. Full River Red
    Zhang’s own authorial touch is unmistakable in the mazelike palace intrigues, the phalanxes of armed soldiers and the ferocious bursts of action, plus the climactic nationalist overtones of a story that pits the will of several individuals against the fate of an empire.
  3. Inside
    Katsoupis poses these probing and provocative questions about humanity but doesn’t offer any clear answers or messages. Rather, he lets his muse, Dafoe, simply inhabit this harrowing journey with his strange magnetism and sense of timelessness, in a performance that is simultaneously primitive and transcendent.
  4. Shazam! Fury of the Gods
    It may be a shoddily made Skittles ad masquerading as a superhero riff, but it’s Levi’s performance that sends it into the stratosphere of cringe.
  5. Moving On
    If “lovely” is not the first word you’d think would be used to describe a movie about attempted murder, then you haven’t seen Moving On, an amusing and bittersweet little tale of love, friendship and, yes, retribution.
  6. Punch
    The plot of Punch follows a fairly predictable path, and it lurches into overheated melodrama in its second half. But Ings does a fine job of capturing the instant connection between these two young men.
  7. Sound of Silence
    If nothing else, this movie is an effective demonstration of the directors’ ability to lull the audience into a relaxed state before knocking them around.
  8. I Got a Monster
    The documentary can feel a little scattered due to its multiple angles, but it remains a fascinating and relevant tale, examining how any criminal justice system built around the idea that cops never lie is ripe for abuse.
  9. Luther: The Fallen Sun
    "Fallen Sun” is best described as a movie-size version of a “Luther” season — which, for longtime fans, is better than no “Luther” at all.
  10. Unseen
    The cast and the crew work well together in Unseen, delivering a taut, inventive picture about two young Asian American women helping each other survive one terrible day.
  11. Unicorn Wars
    An inspired antiwar epic that recently won the Goya Award (Spain’s equivalent to an Oscar) for animated film, Vazquez’s sophomore nightmarish fairy tale culminates with frighteningly revelatory imagery signaling the pattern of destruction that has characterized human history.
  12. Chang Can Dunk
    Chang Can Dunk gets that the pursuit of fun, seemingly frivolous goals can be meaningful in itself, especially when undertaken with the loving encouragement of friends and family.
  13. The Magic Flute
    This Magic Flute has much to recommend and is a worthy, well-performed, often stirring and dazzling take on an enduring masterwork.
  14. Champions
    For the most part, it is warmly amusing without diving too far into the realm of the maudlin or treacly; and it side-steps anything insensitive while still enjoying some bawdy humor.
  15. 65
    Is 65 a hall-of-fame bad movie? No, and that may be its problem. It’s just pedestrian dumb and dull.
  16. The Creeping
    Writer-director Jamie Hooper’s debut feature, The Creeping, is hampered a bit by following the modern supernatural thriller trend toward tying every jump-scare and creep-out to some profound personal trauma. Despite that, the film works quite well, thanks to Hooper’s command of retro horror style
  17. Wolf Garden
    Despite some nice mood-setting, too much of Wolf Garden is spent talking around the story rather than just telling it.
  18. Spoonful of Sugar
    The film gets too mired in shock for shock’s sake in its final half-hour; but for a good stretch it’s a wild and unpredictable ride.
  19. Transfusion
    The movie’s handful of action sequences are good, but they’re too sparsely deployed and overwhelmed by lots of slow-paced scenes of characters stewing in self-pity.
  20. Free Skate
    The film is visually sharp and quietly absorbing, and Olenius and Vilo sensitively capture the isolation and self-doubt that can make an athlete’s life so lonely.
  21. Please Baby Please
    The movie is in some ways an exaggerated spoof of mid-20th century pop culture — and, in more profound ways, an explication of how greaser fashion, jazz clubs, beatnik poetry and complicated hairdos once gave repressed Americans a vent for their unspoken desires.
  22. Operation Fortune: Ruse de Guerre
    OF: RDG is classic recent Ritchie: star-studded, snarky, and ultimately grating, lousy with weird glasses and bad accents. This thing is so slight, a Xerox of a Xerox of a Xerox of a “Mission: Impossible” that it’s barely a movie.
  23. Scream VI
    Writers James Vanderbilt and Guy Busick keep the blade sharp, while directors Matt Bettinelli-Olpin and Tyler Gillett bring a brawny, bruising and bloody style to this “requel sequel.”
  24. Palm Trees and Power Lines
    The filmmaking maintains its discretion and unblinking restraint even in its most terrifying passage, shot with an implacable calm that renders it all the more unbearable.
  25. Blueback
    The lovely and lyrical Blueback is a transporting mother-daughter (and fish) drama as well as a beautifully shot memory piece that will reward patient viewers able to settle in and enjoy the film’s accessibly low-key vibe.
  26. Ithaka
    Ithaka isn’t as effective an advocacy doc as it could be, sometimes feeling trapped between wanting to intellectualize with onscreen text and contextualized history and looking for observational moments that crystallize the pain and concern for the Assange family.
  27. What We Do Next
    While it doesn’t venture far from its evident stage roots, neither does “What We Do Next,” a sinewy, tautly calibrated morality play, ever stray from the decidedly contemporary issues at its complex core.
  28. Pacifiction
    In scene after scene, Serra holds beauty and menace in a kind of uneasy equilibrium. He’s made a trouble-in-paradise movie where the trouble doesn’t overwhelm the paradise so much as poison it, at an almost imperceptible slow drip, from the inside.
  29. Creed III
    Coogler and Baylin’s screenplay isn’t all that innovative with the sports movie formula, and it unfortunately tends to rely on characters plainly spelling out their inner monologues, rather than leaving it to subtext. But Jordan’s steady direction elevates the material, keeping a strong hand on the tone and emotional tenor.
  30. Cinema Sabaya
    A wonderfully unforced, lightly intimate experience existing in a dramatic arena between observational nonfiction and bare-bones theater’s nowhere-to-go focus.
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