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. SPECTRE
    Yes, some of the individual stunts and action set pieces temporarily hold our interest...but the story itself is not convincing on its own terms, playing like a series of boxes (Bond asking for a martini shaken not stirred) that need to be checked off and forgotten.
  2. The Rooftop
    The Rooftop is a bullet train to bananasville, its tonal eccentricities sure to wear out even the most dedicated connoisseur of silly cinema.
  3. Brain Donors
    It's hard to remember when actors have stepped into such a no-win situation and mustered up such panache: Turturro may be on a sinking ship, but he manages to drown brilliantly.
  4. The Machine Which Makes Everything Disappear
    Unfortunately, there's a lack of structure, context and point of view to the largely gray, grim, hardscrabble world presented here.
  5. Tiny Times 2.0
    [Guo's] film, which at first hints at a wry critique of materialism but ends up reveling in it, is a timely snapshot of aspirational glitz in the big city.
  6. A Teacher
    A flimsy episodic feature.
  7. A.C.O.D.
    Solid performances aside, closing-credits comments from the movie's crew members on marriage and divorce offer fresher insights than any of the story's run-of-the-mill shenanigans.
  8. Paradise: Faith
    With little room to feel for or even understand Anna Maria, Paradise: Faith rarely seems more than high art with low intentions.
  9. The Zero Theorem
    This "Theorem" is all sizzle, zero steak.
  10. Dark Tourist
    Dark Tourist gets bogged down in insufferably slow-moving scenes — interestingly, when Jim is interacting with others, despite consummate performances from Cudlitz and Griffith.
  11. Wampler's Ascent
    Focused on the task at hand and exhausted from the effort, Stephen is often authentically moving, but on the ground, a manufactured awareness that this is all being filmed — along with a treacly score — mars the feel-good atmosphere.
  12. Mission Park
    Though writer-director Bryan Anthony Ramirez keeps things moving apace, he trots out so many familiar tropes that it's often like watching a highlights reel from a lifetime's worth of urban crime dramas.
  13. Unacceptable Levels
    Brown's argument is hampered, however, by the chaotic rush of information and speculation, overuse of winking archival footage of commercials and old industrial films, and Brown's charmlessness as a "what's going on?" guide.
  14. Devil's Knot
    Egoyan, who has never shied away from the lurid aspects of lost innocence, takes a measured approach that successfully avoids sensationalism. But the film's restraint verges on blankness.
  15. My Lucky Star
    While the film does not lack production values and panache, Gordon's direction often seems thoughtless.
  16. Sal
    Franco seems torn, on the one hand presenting his subject as a likably ordinary, self-involved actor and on the other sanctifying him as a would-be gay icon in a conformist industry.
  17. Le Week-End
    Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
  18. Beauty and the Beast
    The film is most acceptable when it sticks to its beauty-and-beast dynamic. Even then it’s too dizzying and grandiose and the chemistry between the lead characters is pretty much nil.
  19. CZ12
    May please non-discriminating fans of its co-writer/director/star (and more) Jackie Chan, but will likely leave most other viewers dazed, confused and eagerly watching the clock.
  20. 2 Jacks
    Inconsistencies cause more confusion than the magic Rose is presumably going for.
  21. Silent City
    That Rosa never encounters another character with English fluency — nor grasps her Eurocentric limitations — makes director Threes Anna's film less the intended portrait of cultural isolation than an illustration of how a lack of imagination can lead to despair.
  22. Last Love
    This somber work about the worthiness of living has little life in it.
  23. Cassadaga
    Cassadaga tries to scoop up enough tropes to satisfy a wide range of potential fright fans but lacks the cohesion to ever truly be effective.
  24. Lost for Words
    The film's colorblindness does not make up for its latent sexism.
  25. Son of God
    If "The Bible" was CliffsNotes for the Scriptures, Son of God is the cheat sheet. The two-hour film condenses about four hours of what already was hasty television, and it all winds up a little dramatically static.
  26. 12-12-12
    Busy, but not exactly invigorating.
  27. Endless Love
    Every time things between blue-collar David (Pettyfer) and pretty, privileged Jade (Wilde) get sticky — either kissy/gooey or teary/hurt-y — and the film could go deep, "Endless" morphs into music video territory.
  28. Out Loud
    It's shame that the first film to come out of Lebanon featuring a gay theme turns out to be such a head-scratching jumble.
  29. Bridging the Gap
    Bridging the Gap may mainly aim for audio-visual delight (Stephan Mussil's cinematography undeniably dazzles), but as an authentic look at a more than 500-year-old institution, the film proves less in tune.
  30. Immigrant
    Scenes can drag; they at times pay homage to the filmmaker's memories rather than drive the narrative forward.
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