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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    • 20 Metascore
    • 10 Critic Score
    Saw V
    A particularly dull and discombobulated affair, shot and acted with all the flair of a basic-cable procedural. Patterson and Mandylor are so wooden that their cat-and-mouse game has all the excitement of watching dust bunnies swirl in an air current.
  2. Pride and Glory
    The movie is as histrionic as it is ham-fisted, a bad combination that leads to scenes such as the one in which officers threaten to torture a baby to get their point across.
  3. High School Musical 3: Senior Year
    For those scoring at home, the third entry in the "High School Musical" series is better than the second but doesn't quite sustain the unvarnished, giddy highs of the first.
  4. Johnny Got His Gun
    Trumbo's aim was a kind of proletarian poetry, but McKenzie's broad emoting has the deadly earnestness of a school play.
  5. The Universe of Keith Haring
    The bane of documentaries on creative people is that they're often little more than a fan's note, of interest only to those who already know and love the work in question. The Universe of Keith Haring starts out that way but the force of the late artist's energy and personality is strong enough to win over the skeptics.
  6. Fear(s) of the Dark
    None of the segments are really interested in jump/scare/slasher horror, but rather the slow, creeping terror of feeling something is wrong and something worse is coming, making the film a most frightful Halloween aperitif.
  7. Stranded: I've Come from a Plane That Crashed on the Mountains
    An exceptional film, at once disturbing and elevating, deliberate yet powerful.
  8. W.
    W. is not a dispassionate biography; it is an interpretation of personality intersecting with history, and as a piece of drama it is persuasive and perfectly creditable.
  9. The Elephant King
    Oliver's instant switch from bespectacled nerd to Thai-stick smoking, love-struck tourist is more embarrassing than convincing, as is the film's reliance on literally elephant-heavy symbolism.
    • 31 Metascore
    • 20 Critic Score
    Max Payne
    Turning video games into movies may be one way for studios to coax teenagers away from their laptops, but this time around, the results are miserable, in every sense of the word.
  11. Morning Light
    If the makers were hoping they'd chronicled a metaphor for life's struggle, they probably weren't counting on the struggle being monotony.
  12. The Secret Life of Bees
    What's being sold here is the movie equivalent of the honey-drenched sweet potato biscuits that are forever being passed around on-screen. Their nutritional value may be nil, but they sure look comforting.
  13. Sex Drive
    Occasionally sharp but never quite as smartly formed as it could be, this Sex Drive is only partly worth the trip.
  14. Frontrunners
    Makes for a thoroughly captivating film.
  15. Body of Lies
    Always crisp and watchable. But as the film's episodic story gradually reveals itself, it ends up too unconvincing and conventional to consistently hold our attention.
  16. Breakfast with Scot
    Has a sitcom format, but complex emotions and perceptions keep breaking through the surface in an engaging, thoughtful manner.
  17. City of Ember
    None of this means that the film is necessarily enjoyable to watch, however, which is often the problem when the rigors of inspired storytelling can't live up to an imaginatively designed filmic world.
  18. The Express
    If one will pardon the obvious analogy, The Express ends up feeling like a fumble at the goal line, coming across as simple-minded and melodramatic.
  19. Good Dick
    Good Dick carries its messed-up, highly improbable premise so lightly and gracefully that it ultimately comes off as a sweet, plausible and curiously grounded love story -- and touchingly old-fashioned.
  20. Happy-Go-Lucky
    As is always the case with Leigh's protagonists, Poppy does not fit into a schematic log line, she simply is. She exists with an intensity that few other filmmakers' characters can manage because of the singular way Leigh creates his people.
  21. Quarantine
    Shame as well upon the advance marketing department for blowing the end of the movie in ads, thus exorcising any ghost of a chance Quarantine had of issuing a surprise.
  22. Dung che sai duk
    "Ashes" is glorious and ultimately wrenching, but it's a tough journey.
  23. Choose Connor
    What makes Choose Connor so special and unsettling is the consistent adroitness and perfect timing with which Eberl makes his revelations.
  24. Call + Response
    All in all, Call + Response makes alarmingly clear how ugly, pervasive and out-in-the-open the trade in humans for sex or labor often is.
    • 53 Metascore
    • 60 Critic Score
    RocknRolla
    Ritchie whisks you along on a whirlwind tour, but he's not averse to putting on the brakes long enough to admire some of his favorite attractions.
  26. Rachel Getting Married
    Best and most unexpected of all, Rachel Getting Married dares to mix the bitter with the sweet. It understands that life-altering situations like weddings not only bring out the worst in human behavior but also the finest.
  27. Religulous
    Though he claims to be a seeker, someone who "has to find out" why believers believe, Maher sets out not after answers but cheap laughs that preach, so to speak, to the converted.
  28. Beverly Hills Chihuahua
    Despite its superficial lip-service to self-actualization/realization, there has to be more to life than what Beverly Hills Chihuahua is putting out there, which is fit for neither man nor beast.
  29. Blindness
    What was presumably intended to play like a fable plays, instead, like an overly long car commercial crossed with a scare-mongering public service announcement.
  30. Flash of Genius
    Wants so much to be liked, even with its prickly, difficult hero, that it misses the mark of nonobviousness necessary not only for a patent, but also for a thrilling, original work.
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