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. The Real Dirt on Farmer John
    Though its title suggests an exposé on Dodger Dogs, the movie is the moving, inspirational account of John Peterson's discovery of an almost divine calling in the land beneath his feet.
  2. The Fall of Fujimori
    A confoundingly mercurial figure, Fujimori is a fascinating subject. But in her focus on the man, Perry fails to paint a broader picture of a racially diverse and extremely complex country.
  3. Glory Road
    Ripped directly from Disney's playbook of inspirational sports movies, it's devoid of any original elements that might deter it from that successful formula, hewing closer to the sentimental cliches of "Remember the Titans" than the much better "Miracle" or "The Rookie."
  4. Tristan and Isolde
    This "Tristan" has its slightly silly moments, but rather like those fondly remembered epics of Hollywood past, its energy and entertainment value carry the day.
  5. April's Shower
    The movie suffers from a malady common to tiny indies of the let's-put-on-a-show variety -- it strains for irrepressibly nutty, but lands squarely in annoying.
  6. Following Sean
    What emerges from Arlyck's musings is a penetrating cinematic essay on how generations in the last century struggled to take hold of history and reconfigure the shape of daily life.
  7. Fateless
    A first-rate contribution to the Holocaust canon.
  8. Hostel
    Seems to have been tailored to its designated R "for brutal scenes of torture and violence, strong sexual content, language and drug use."
    • 33 Metascore
    • 60 Critic Score
    Grandma's Boy
    It's as aimless and pointless as a joke told while stoned. There are some pretty decent shock-laughs, often provided by Jones, who hasn't ever been this nasty.
  10. BloodRayne
    The only thing left unsliced is the ham in BloodRayne, yet another video game adaptation by German genre specialist Uwe Boll and a movie with more fading - or faded - talent than an Italian basketball team.
  11. The Promise
    Chen's masterful, deeply perceptive direction of his superb cast is equaled by the film's luminous cinematography, rich yet spare and stylized production and costume design, and rousing score.
  12. Match Point
    It pretty much keeps its pulse steady, its blood cold and its nerves tamped down -- which, combined with cinematographer Remi Adefarasin's architectural Hitchcockian flourishes, lends a queasy, cool air to the proceedings.
  13. Wolf Creek
    An initially promising horror film that turns exploitive, Wolf Creek fails to deliver the requisite payoff considering its leisurely pace.
  14. Casanova
    In the exhilarating Casanova, giddy shenanigans effectively set off the dangerous, darker impulses of human nature.
  15. Rumor Has It...
    The resulting film is a muddled, melodramatic, sort-of remake of "The Graduate."
  16. The New World
    A work of breathtaking imagination, less a movie than a mode of transport, and in every sense a masterpiece.
  17. The Matador
    In The Matador, a delightfully sly diversion, Pierce Brosnan breaks the mold and turns in what might be considered the performance of his career, the kind of witty, relaxed star portrayal that recalls those of Cary Grant and other Golden Era legends.
  18. Munich
    Munich's even-handed cry for peace is not an act of equivocation but one of bravery. What Munich has to say, and its ability to say it to the widest possible audience, couldn't be more needed than it is right now.
  19. Caché (Hidden)
    A psychological suspense drama of the utmost rigor and originality.
  20. The Ringer
    Though the movie bears some of the Farrellys' trademark outrageous humor, it has a sweet demeanor and makes a noble statement.
  21. The Intruder
    Never has Denis demanded so much from audiences as with this shimmering enigma, at once intimate and epic, but it's worth the effort and then some.
  22. Cheaper by the Dozen 2
    A family comedy that is actually involving, even believable, and manages to be pretty funny too.
  23. Fun with Dick and Jane
    Plays like the setup for a movie that never materializes. It has all the elements for a successful comedy, but once the premise is presented, the film doesn't know how to deliver on its promise. That doesn't mean there is no fun in "Fun."
  24. The White Countess
    The White Countess takes place in a fascinating time and place, rife with conflict and turmoil. But to watch Fiennes float (and Richardson trudge) through it all, absorbed in themselves and their own private misery, is to wish they'd started falling earlier, if only to knock some sense into them.
  25. The Family Stone
    A film that's at times as ragged and shaggy as its family unit. But as written and directed by Thomas Bezucha, its offbeat mixture of highly choreographed comic crises and the occasional bite of reality make for an unexpectedly enticing blend.
  26. The Three Burials of Melquiades Estrada
    Incisive yet supple, wrenching yet deeply pleasurable, The Three Burials of Melquiades Estrada easily ranks among the year's best pictures.
  27. The Producers
    Whereas the original film is gleefully crass and energetically paced, the movie musical, weighing in at a robust two-plus hours, is bloated and self-satisfied. Whatever spectacle the stage musical possessed to make it such a box-office behemoth fails to transfer to the screen.
  28. Hoodwinked!
    Hoodwinked hasn't much time for soul or sentiment, but it is certainly amusingly smart and sassy.
  29. Angels with Angles
    Lame and overly contrived comedy.
  30. King Kong
    King Kong is an homage not just to the original but to the history of movies themselves.
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