Los Angeles Times' Scores

Select another publication »
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:
  1. Positive: 8,699 out of 16526
  2. Mixed: 5,810 out of 16526
  3. Negative: 2,017 out of 16526
16526 movie reviews
view
per page
    • 63 Metascore
    • 80 Critic Score
    My Reincarnation
    Languid and contemplative, the film is typical of the intimate, paired-down aspect of Fox's style, a documentary in which lives accumulate in small moments.
  2. The Double
    The movie's few pleasures, though, do belong to Gere, who makes the most of his preening caginess as a spook thrust back into the cold. Grace, though, comes off more whiny than tantalizingly adversarial.
  3. All's Faire in Love
    While there's regrettably nothing terribly witty or surprising about any of this as either love story or laugh machine, director Scott Marshall does manage a breezy, good-natured tone toward this oft-mocked cultural phenomenon that allows for eye-rolling and smiling in equal measure.
  4. Like Crazy
    If you are experienced enough to understand love's fragility but still romantic enough to embrace its power, Like Crazy will put you away.
  5. Puss in Boots
    A treat to experience visually (especially in lively 3-D) and verbally, Puss in Boots is a family film where the adventure and invention never flag and the tongue-in-cheek humor doesn't linger far behind.
  6. In Time
    What's missing are the kind of moments that actually matter, the ones that are so gripping that you want desperately for time to stop - to savor them, to feel the fear, the passion, the regret. Ah, well … maybe next time.
  7. Anonymous
    William Shakespeare - whoever he was - I think would probably be at least a little amused by Anonymous. For amusing it is - along with bawdy, brazen, politically outrageous, plausible enough and occasionally graced with something close to Shakespearean cleverness in an absurdist sort of way.
  8. The Rum Diary
    In every move, Depp makes you believe this was a passion project for the actor, one he dedicates to Thompson.
    • 42 Metascore
    • 50 Critic Score
    Chalet Girl
    Cinderella stories don't come much more predictable than the happy-ending machine that is Chalet Girl. But the picturesque scenery, light touch of the cast - which includes Bill Nighy as Kim's dryly observant boss - and breezy zip of director Phil Traill's pacing appealingly pair with Jones' irrepressible charm.
    • 63 Metascore
    • 70 Critic Score
    Revenge of the Electric Car
    The resulting roller-coaster ride, well shot and sharply paced, is so friendly to the corporate types its predecessor targeted that Nissan is sponsoring screenings.
  11. The Reunion
    The "Midnight Run" meets "Bonanza" idea isn't exactly a terrible one, but writer-director Mike Pavone has only one point-and-shoot gear, whether the scene is light comedy, dysfunctional family drama or western-tinged gunplay. (Even television shows these days exhibit more directorial flair and editing variety.)
  12. Everyday Sunshine: The Story of Fishbone
    As much as filmmakers Lev Anderson and Chris Metzler capture the energy and attitude of the band's early days, it is the more recent footage of Fishbone still making the most of it - despite years of personality conflicts, personnel changes and commercial disappointments - that has an emotional appeal.
  13. Daylight
    Replete with superior acting and visual splendor, the film is a fine instance of the overly familiar made fresh.
    • 39 Metascore
    • 50 Critic Score
    Snowmen
    It's a shame the film's first two acts are such a grind since there's actually a decently wrought resolution to it all. But by then, between the youngsters' more-is-less acting (Ray Liotta fares only slightly better as Billy's madcap dad), feeble stabs at humor and overreaching profundity, it's too little, too late.
  15. Norman
    The humor is sly and not overplayed either. Typical is the English class with Mr. Angelo (Adam Goldberg) trying to prod his bored students into parsing the difference between satire and irony, which is what the filmmakers are up to as well.
  16. Klitschko
    Articulate, thoughtful and funny - hearing Vitali talk about getting used to 100 kinds of cheese in the West is a real pleasure - the Klitschkos are a treat to spend conversational time with. Just don't think of joining them in the ring.
  17. Le Havre
    Buster Keaton isn't dead, he's alive and well in Finland, where under a new identity he pursues his own particular brand of deadpan absurdism to wonderful effect. If the name Aki Kaurismäki doesn't mean anything to you, it should, and Le Havre may be the film to make it happen.
  18. Margin Call
    This confident, crisply made piece of work does an expert job of bringing us inside the inner sanctum of a top Wall Street investment bank in extremis, giving us a convincing and coolly dramatic portrait of what it must have been like when titans trembled.
  19. Johnny English Reborn
    All that matters with efforts like this is whether the cookie-cutter plotting serves up enough situations for Atkinson to contort himself into and out of jams. After all, are the narratives what you remember from the "Pink Panther" movies? Or the silly things, like that Clouseau could so easily get his finger caught in a spinning globe?
  20. Oranges and Sunshine
    Sometimes the facts can get in the way of the drama, and that's the central problem here. That sense of needing to be true to the record is reflected in an overwhelmed screenplay.
  21. Martha Marcy May Marlene
    A film of rough edges and no easy answers, nearly perfect in its imperfection.
  22. Paranormal Activity 3
    Paranormal Activity 3, the latest installment in the low-budget horror franchise, is far and away the sharpest, most wildly aware film in the series.
  23. Texas Killing Fields
    As good as Worthington, Chastain, Moretz and Morgan can be as they try to untangle the morass and the menace - and get caught up in it - they just can't quite pull it off. The real killer, sadly, is the script.
  24. The Big Year
    If you're in the mood for some feathery fluff of the happy-sappy-and-not-wholly-unpleasant sort and need a break from snark, there is The Big Year.
  25. Footloose
    Stays remarkably close to its predecessor in all the ways that count.
  26. Trespass
    In the end, Trespass steps all over its own genre strengths.
  27. Fireflies in the Garden
    There's a strange sort of diffidence that seems to inhabit Dafoe and Roberts' performances, and the disconnect between the two Janes is simply insurmountable.
  28. The Skin I Live In
    Though Almodóvar has retained the creep factor of his source material, he hasn't fully embraced its darkness.
  29. Connected: An Autoblogography About Love, Death & Technology
    The film ultimately works best as a daughter's heartfelt tribute to an enormously devoted and emotionally generous parent. Unfortunately, that's just not enough to, well, connect us to the bigger picture.
    • 59 Metascore
    • 60 Critic Score
    The Dead
    The Dead, evocatively filmed in grainy 35mm, might carry the cinematic vibe of an old-school, flesh-eating adventure, but as it should be with stories like this, it's not a pretty picture.
Page:

Top Trailers

See all »
See all trailers »