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. Beautiful Losers
    Fortunately, Rose's on-camera turns as a kind of "I-was-there" guide through the various incarnations of the Alleged Gallery and its starrier alumni, help give this freewheeling portrait a welcome heart.
  2. Hell Ride
    The film gets the scummy patina right, all phony-Leone dusty trails, but while everybody on screen looks to be enjoying themselves, it is no fun to watch.
  3. What We Do Is Secret
    Grossman bangs out a visceral, energized biopic that captures the vibrant idiocy of punked-out youth and a tortured soul gaining his wish of cult status.
  4. Pineapple Express
    In the role of dramaturge, Rogen and his co-scripter Goldberg lack Apatow's discipline and deft hand for peripheral characters; the writing in Pineapple Express gets lazy whenever it strays too far from its central axis of players.
  5. Bottle Shock
    The soul of the grape, that thing that elevates a wine to greatness, proves here as elusive on screen as in the bottle.
  6. Patti Smith: Dream of Life
    Impossibly long and angular, with a brutally beautiful face, she represents something that's been rare in the popular culture in the past decade: an artist with a voice and a vision.
  7. Frozen River
    As the summer heats up, let Frozen River wash over you; let its bracing drama and the intensity of its acting restore your spirits as well as your faith in American independent film.
  8. The Mummy: Tomb of the Dragon Emperor
    Though the new film has some good things, it does not have enough of them to make the third time the charm.
  9. Sixty Six
    Instead of depicting a boy's first steps toward manhood -- ceremony aside -- it turns into an uninvolving portrait of self-absorption.
  10. In Search of a Midnight Kiss
    If it were a parody of relationship-youth pictures, In Search of a Midnight Kiss would maybe be tolerable, but writer-director Alex Holdridge seems to be playing it with a straight face.
  11. America the Beautiful
    With so many pointless detours ripping you away, the film feels as lamely digressive as the proverbial one-track guy whose head won't stop turning as each new temptation walks by.
  12. Man on Wire
    This is a police procedural, if you will, about what's been called the artistic crime of the century.
  13. The X Files: I Want to Believe
    Even at its stride, "The X-Files" was a load of malarkey. But it was thoughtful malarkey and compulsively watchable. One could say the same about the first two-thirds of The X-Files: I Want to Believe before it spins out of control and into a delirious plane of awfulness.
    • 51 Metascore
    • 60 Critic Score
    Step Brothers
    Step Brothers is not a retread so much as a reduction, stripping away the magical pretext of "Elf" and the period trappings of "Anchorman" to get to the heart of the thriving man-boy genre.
  15. Baghead
    The filmmakers maintain a delicate balance that generates tension on multiple levels, including sexual. They giddily mix genres, but Baghead, part meta-cinematic comedy, part relationship drama and part horror movie, remains rooted in reality.
  16. Brideshead Revisited
    That the film is neither a true triumph nor a total disaster makes it somewhat difficult to justify revisiting "Brideshead," apart from the hope it will inspire someone somewhere to pick up the book.
  17. Bustin' Down the Door
    A mostly enjoyable wave of nostalgia.
  18. No Regret
    As a love story, it could scarcely be more tempestuous and as an exposé of class differences and sexual hypocrisy it could hardly be more scathing -- or, more important, entertaining.
  19. The Order of Myths
    An invaluable portrait of us-and-them America, a smart, generous, poignant, quietly disturbing movie about secrecy and hospitality, and how easy it is for a tradition of separateness to flourish when the stakes are as deceptively frivolous as an eye-popping yearly party.
  20. American Teen
    Here are casual cruelty, crushing heartbreak and pressure from parents and peers, all of which can involve the viewer but are nothing revelatory.
  21. CSNY/Déjà Vu
    Though it may be another in a long line of choir-preaching, anti-Iraq war documentaries, CSNY/Déjà Vu, Neil Young's effective hybrid of concert film and political snapshot, is one of the shrewdest and most entertaining of the bunch.
  22. Boy A
    While the cast is uniformly superb, Garfield ("Lions for Lambs") deserves special mention for his deep, extraordinarily expressive performance.
  23. The Dark Knight
    May be the most hopeless, despairing comic-book movie in memory. It creates a world where being a superhero is at best a double-edged sword and no triumph is likely to be anything but short-lived.
  24. Mamma Mia!
    Though the filmmakers may have been imagining they were re-creating the old days of MGM musicals, it's the Village People's misguided "Can't Stop the Music" that comes to mind instead.
  25. Space Chimps
    The film is suitable for all ages, but there's probably not enough fuel beyond cute chimps in Candyland to achieve orbit for the kids.
  26. A Very British Gangster
    If Tony Soprano had a cheekier, less haunted, openly gay British counterpart, it would be Dominic Noonan, the Manchester crime boss profiled in the stylish and compelling A Very British Gangster.
  27. Felon
    Felon is not a total bust. What does work is because of the strength of the actors. Dorff brings a visceral sense of desperation to his performance, though he does tend to go too big too quickly. Kilmer gives the film its center as an alien, still presence amid the chaos around him.
    • 72 Metascore
    • 70 Critic Score
    Berlin
    Reed stands at the center, taut and impassive, punching out words that are more often spoken than sung.
  29. Take
    In the end, Take is too enamored of its time-shifting gimmick and cheap suspense to ultimately have much impact.
  30. Transsiberian
    Mortimer gives a terrifically keyed-up performance that is nicely complemented by the wholesomely chipper Harrelson, who seems to be drawing inspiration from Fred MacMurray's gallery of Disney dads.
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