Los Angeles Times' Scores

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For 16,536 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 16536
  2. Mixed: 5,813 out of 16536
  3. Negative: 2,017 out of 16536
16536 movie reviews
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  1. Waltz with Bashir
    Provocative, hallucinatory, incendiary, this devastating animated documentary is unlike any Israeli film you've seen. More than that, in its seamless mixing of the real and the surreal, the personal and the political, animation and live action, it's unlike any film you've seen, period.
  2. The Curious Case of Benjamin Button
    As enervating as it is long -- and at 2 hours and 47 minutes it is quite long -- this version of the F. Scott Fitzgerald fantasy short story is a baffling project, an endurance test of a movie that feels like it was made on a dare.
    • 30 Metascore
    • 40 Critic Score
    The Spirit
    Miller's flat, humorless yarn is set in Central City, a vacant metropolis whose only residents seem to be cops and crooks.
  4. Last Chance Harvey
    Small and surprisingly hopeful film, with beautifully attenuated performances by Dustin Hoffman and Emma Thompson.
  5. Marley & Me
    An imperfect, messy and sometimes trying film that has moments of genuine sweetness and humor sprinkled in between the saccharine and the sadness.
  6. Valkyrie
    A perfectly acceptable motion picture. The only thing that keeps it from even greater accomplishments may be inherent in the story itself.
  7. The Secret of the Grain
    Rather than observing this family, we feel we are part of it, and that draws us in as nothing else can.
  8. The Tale of Despereaux
    A rare creature, not only for the handmade look and subtlety of its computer-generated imagery but also for its irony-free embrace of once-upon-a-time storytelling.
  9. The Class
    The reality of François' classroom is so intense that it holds our interest even while the film's dramatic focus is building so quietly under the surface that we don't notice it at first.
  10. Seven Pounds
    The rest of Seven Pounds feels like a half-hour "Twilight Zone" script that has been pressed onto a gob of Silly Putty and stretched to the sinking point.
  11. The Wrestler
    The Wrestler doesn't add up. It's constructed with great care around a lead performance that is everything it could possibly be, but the picture itself is off-putting and disappointing.
    • 64 Metascore
    • 40 Critic Score
    Nothing But the Truth
    Lurie spins off into invention like a "Law & Order" writer on deadline, scrambling the issues so thoroughly it's no longer clear what, if anything, the movie is meant to address.
  13. Scott Walker: 30 Century Man
    Director Stephen Kijak previously made the documentary "Cinemania," about a group of obsessive moviegoers, and it comes across here that Walker (born Noel Scott Engel) and his acolytes might best be described not by that distasteful word "hipster" but rather by the more dignified "connoisseur." These are people of discerning taste.
  14. Gran Torino
    Perhaps the best thing about Schenk's script is that it enticed Eastwood to end his self-imposed acting hiatus and bring his one-of-a-kind aura back to the screen.
  15. Che
    The political realities of his legacy can be endlessly debated, but in this flawed work of austere beauty, the logistics of war and the language of revolution give way to something greater, a struggle that may be defined by politics but can't be contained by it.
  16. Timecrimes
    Only half as clever as it thinks and even less entertaining.
  17. The Day the Earth Stood Still
    This contemporary remake of the science-fiction classic knew what it was doing when it cast Keanu Reeves, the movies' greatest stone face since Buster Keaton.
  18. Doubt
    Shanley seems to have lost a certain amount of faith in what he'd written. As a director he's ended up pushing the drama harder than he needs to. He hasn't done anything fatal, but he has tampered with and hampered it.
  19. Nothing Like the Holidays
    • Los Angeles Times
  20. Adam Resurrected
    In a less competitive year, Jeff Goldblum would have had a shot at an Oscar nod for his performance in Adam Resurrected.
    • 38 Metascore
    • 50 Critic Score
    Dark Streets
    The movie, drawn from Wallace King's adaptation of Glenn Stewart's play, drips with style, but it's all flourish and no reveal.
  22. Delgo
    It says plenty about how torpid the storytelling in Delgo is that the end credits are probably the best thing in the film.
    • 71 Metascore
    • 70 Critic Score
    What Doesn't Kill You
    Ruffalo's feral vulnerability gives the familiar form a jolt.
  24. Where God Left His Shoes
    Stabile keeps his affecting story hurtling forward with such grit and integrity it's easy to forgive its loaded setup and occasional lapses in detail and logic.
  25. While She Was Out
    Writer-director Susan Montford eschews all plot and character development for the hackneyed action scenes and grade-Z dialogue, while struggling to stretch the paper-thin story into a feature length film.
  26. The Reader
    It is only, frankly, the strength of Winslet's performance that rises above conventional surroundings and makes The Reader the experience it should be.
    • 80 Metascore
    • 90 Critic Score
    Wendy and Lucy
    Williams' performance is remarkable not only for its depth but for its stillness.
  28. Hunger
    The first-time director's unflinching camera, deliberate pacing and maddeningly long takes just amplify the story's innate harshness and test audience endurance levels.
  29. Nobel Son
    Shows strains of stylistic overkill with egregious flash-edit tricks and sped-up camera moves, while the signal-flare plotting indicates that perhaps a bit more time could have been taken on the screenplay.
  30. Frost/Nixon
    The result is involving, engrossing cinema -- more thrilling, in fact, than Howard's "The Da Vinci Code" -- filmmaking of a type rarely seen anymore and sorely missed.
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