Los Angeles Times' Scores

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For 16,535 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: 8,705 out of 16535
  2. Mixed: 5,813 out of 16535
  3. Negative: 2,017 out of 16535
16535 movie reviews
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  1. Three Times
    Finds Taiwanese master Hou Hsiao-hsien at his most intimate and romantic. The deceptive simplicity of these vignettes, written by Chu Tien-wen, throws into relief Hou's formidable storytelling strengths and visual acuity - his way with actors, his subtlety and expressiveness.
  2. American Dreamz
    Grant's second coming as a rake and an egotist is the best thing to happen to his career since "Four Weddings and a Funeral." He is twice as enjoyable as the preening bad guy as he was as the bumbling good guy, and Weitz makes perfect use of the new persona.
  3. The Sentinel
    An unassuming thriller, a nifty piece of genre filmmaking without frills or self-importance. It's a throwback, if you will, to the days of B pictures, when formula movies were made with a maximum of skill and a minimum of pretense.
  4. Silent Hill
    Works up a decent amount of solid, creep-show atmosphere in its first act before making some absurd decisions of its own in its second.
  5. Somersault
    Dreamy and creepy, tender and terrifying, Somersault is a frank and visceral film that at the same time exudes an unexpected innocence.
  6. The Celestine Prophecy
    The movie is flatly acted and extremely ill-paced, lacking any sense of urgency, momentum or fun. "Romancing the Stone" it is not.
  7. The Almost Guys
    Shot in just 24 days, the film staggers under the weight of stale gags and a meandering plot.
  8. Standing Still
    Wants to be an honest, earnest look at the difficulties of growing up and moving on, but it remains stuck in such a fantasy-laden milieu that the characters never feel particularly real, and their problems seem phony and arbitrary.
  9. Stolen
    Stolen is about a puzzle that's resisted solution for more than 15 years, but that doesn't stop it from being a fascinating, adventurous documentary with a lively and eccentric cast of characters.
  10. Scary Movie 4
    Isn't it amazing to see just how low some people will stoop if you pay them enough?
  11. Kinky Boots
    A humanist parable about how to be a good person, live a good life and make gallons of lemonade when life suddenly hands you lemons, it's predictably delightful and delightfully predictable.
  12. Hard Candy
    Maddeningly exploitative, the film takes a provocative subject -- pedophilia -- and wraps it in a sterile, vacuum-sealed package, devoid of meaning.
  13. The Notorious Bettie Page
    Harron has said she was determined to be nonjudgmental about Page, to do justice to the woman's "mystery and ambiguity." In practice, however, that attitude plays as coldness, and Page, for all her remarkable zest, comes off as a not terribly interesting person we're given no incentive to become involved with.
  14. Look Both Ways
    A fearless movie about a fearful subject, an unusually empathetic and quite funny film that deals with death and dying in the most offbeat and casually life-affirming way. Exceptionally smart, playful and perceptive, Look Both Ways confronts things that people would rather avoid.
  15. Abominable
    Schifrin wisely holds off showing the monster -- because once the creature is revealed, the already shaky film takes a turn for the worse. The costume for the monster looks like a cross between a drugstore Halloween mask and leftover molds from the horror chestnut "Leprechaun."
    • 54 Metascore
    • 40 Critic Score
    Herbie Hancock: Possibilities
    Possibilities ends up as a testament to only one thing: a missed opportunity to explore one of the most visionary and influential careers in modern music.
  17. Mountain Patrol
    These kinds of merciless conditions lead to a culture that is stoic about life and death and a story that will surprise you by its willingness to embrace that unsentimental natural world.
  18. La Mujer de Mi Hermano
    As pared down, stylish and deceptively simple as the stark glass and concrete block inhabited by two of its main characters, La Mujer de Mi Hermano (My Brother's Wife) is an adultery drama that skips the big life lessons in favor of observing the mysteries of human interdependency and social behavior.
  19. Metal: A Headbanger's Journey
    Dunn says he's been defending his choice in music since he was 12, and the film is a carefully organized and thoughtful argument for the merits of metal.
  20. The Sisters
    A pompous, overwrought and itchingly claustrophobic psychodrama.
  21. Sisters in Law
    You might start to seriously wonder if there's a way to get this woman to run for office here in America.
  22. Lucky Number Slevin
    Lucky Number Slevin is an attempted cinematic sleight-of-hand that has its moments, but is finally just plain annoying, wearing its influences too broadly on its sleeve.
  23. The Benchwarmers
    From the beginning to its very end, The Benchwarmers seems to be struggling to justify its own existence.
  24. Phat Girlz
    Likké should be applauded for tackling a subject that's bristling with sociopolitical thorns and that raises some provocative questions, particularly about what we find attractive in other people and why.
  25. Friends with Money
    The result is an exquisitely calibrated hypermodern comedy of manners. A quiet but devastating ensemble piece, both acerbic and sweet, "Friends" blends empathy and a great sense of comic timing with the richness of Holofcener's trademark take-no-prisoners observations.
  26. On a Clear Day
    Sweet-natured, if somewhat familiar, On a Clear Day features fine performances by Mullan, Blethyn and Sives. Dellal and cinematographer David Johnson paint an inviting picture of Glasgow.
  27. When Do We Eat?
    A self-consciously zany dysfunctional family comedy, When Do We Eat? strains so hard to be outrageous that it sacrifices characters for caricatures. They might have had something if they'd let everybody relax, be themselves and enjoy dinner.
  28. 4
    But most important, for the adventurous moviegoer, it's more than apparent throughout this inventive, hypnotic and queasily funny portrayal of socioeconomic chaos that this director is a talent to watch.
  29. One Last Ride
    Director Tony Vitale, best know for "Kiss Me Guido," gamely tries to keep pace with Cupo's erratic storytelling and struggles to convey the inner life of Cupo's character.
  30. Sir! No Sir!
    A powerful documentary that uncovers half-forgotten history, history that is still relevant but not in ways you might be expecting.
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