Los Angeles Times' Scores

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For 16,524 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 2.3 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: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Back to 1942
    Director Feng Xiaogang captures the epic scale of the exodus as well as the often-harrowing details, yet emotional connection proves more elusive.
  2. The Monuments Men
    It can't decide what kind of a film it wants to be and so ends up failing across a fairly wide spectrum.
  3. Wrong
    "Rubber" felt inventive and complex, but here Dupieux's absurdism is simply muddled, masking the fact he doesn't really have much to say.
  4. Brief Reunion
    Efficiently told and features solid performances, but without the juicy character detail, vise-grip suspense or black comic intensity of its memorable forerunners, it unwinds as a boilerplate genre item.
  5. Officer Down
    It's really just an overstuffed story that comes off not as layered but rather as an unfocused jumble.
  6. Pirates of the Caribbean: Dead Men Tell No Tales
    There are no new treasures to be found in this installment, which is dragged down by the anchor of a prescribed franchise blueprint.
  7. The Call
    It buzzes along for a while, the promising plot innovations inviting suspension of disbelief, before by-the-numbers implausibility, over-the-top valor and unsavory contrivances take over and the line goes dead.
  8. Emperor
    The war crimes and romance stories theoretically run on parallel tracks, but the overall pacing is ragged and the dialogue frequently out of step with the characters we've met.
  9. The Iceman
    The great failing of The Iceman is not in giving us a monster, but in not making us care.
    • 41 Metascore
    • 40 Critic Score
    Mumia: Long Distance Revolutionary
    Mumia Abu-Jamal would be the perfect subject for an investigative documentary that explored his life and thought with a calm and even hand. Mumia: Long Distance Revolutionary is not that film.
  11. Baggage Claim
    Baggage Claim promotes painfully outdated social mores.
  12. Trance
    It starts out like a house afire, but by the time it's over we're the ones feeling burned. A slick heist tale with more twists than sense, this is one movie that ends up outsmarting itself.
  13. Would You Rather
    Though assured in execution and not without a few moments of genuine tension — mainly emanating from Combs' flinty weirdness — Would You Rather is hardly a most dangerous game night at the movies.
  14. Back to the Future
    It's big, cartoonish and empty, with an interesting premise that is underdeveloped and overproduced. [3 July 1985, p.Calendar 6]
    • Los Angeles Times
  15. Lost in Thailand
    By our quote-unquote standards of contemporary comedy, it plays as uneven at best and often just flattens out for long jokeless stretches.
  16. Almost in Love
    More than a gimmick, that self-conscious visual strategy suits the self-impressed creative-class characters, even as it is, finally, more interesting than they are.
  17. Camp
    The film, though nicely performed, rarely builds into the kind of gripping emotional journey it clearly intended.
  18. Lotus Eaters
    McGuinness has a commendable grasp of visual textures and rhythms. It will be interesting to see what she does with a stronger story to tell. Here, reaching for dramatic effect, she comes up empty.
  19. Flatliners
    If Flatliners is anything at all, it's watchable: aflame with Jan de Bont cinematography, deep-focus decor, an attractive cast. The movie's problem, like many others recently, is that it isn't any deeper, dramatically or psychologically, than its own trailer. It is the trailer: the long version.
  20. August: Osage County
    Despite the story's melodramatic contrivances the creation of characters we actually care about is beyond this film's capabilities.
  21. Language of a Broken Heart
    The film, directed by first-timer Rocky Powell, has a different happy ending in mind, one that adheres to rom-com formulas in a manner that should give it a second life on basic cable. Just don't expect to fall hard for it.
  22. Unfinished Song
    Unfinished Song is a movie so geared toward hitting its spots, it amounts to emotional Muzak rather than something truly played live.
  23. Insidious: Chapter 2
    This busy-yet-dull sequel feels like Wan robotically flexing his manipulation of fright-film signposts, an exercise more silly than sinister.
  24. Kevin Hart: Let Me Explain
    The hour of mike time isn't as strong as such previous dispatches as "Seriously…Funny."
  25. Black Nativity
    Many of the transitions between narrative and music are rough. The temptations of the street, all too real in the real world, feel forced. Confrontations become clichés. The substance of human motivation is missing. And thus the heart never beats as it should.
  26. Everybody Has a Plan
    The noir-ish contours of writer-director Ana Piterbarg's story yield a frustratingly dissipated movie, one with few storytelling pleasures and an overabundance of forced mood.
  27. Dorfman in Love
    Brad Leong's comedy has some nicely miserable character beats.
  28. Desperate Acts of Magic
    While the plot is a non-starter, the margins of Gold and co-director Tammy Caplan's debut feature are scattered with other real-life magicians who make quarters vanish every time our attention does the same.
  29. Leonie
    As a portrait of female strength and a celebration of the artistic spirit, Leonie too seldom comes fully alive.
  30. Bob's New Suit
    With good intentions and a warm heart but undone by uneven performances and shaky storytelling, Bob's New Suit never quite finds the right fit.
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