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. Following the Ninth: In the Footsteps of Beethoven's Final Symphony
    Despite the good intentions, structurally it's all over the place with an excess of montages, archival footage, interviews and information practically drowning out any chance to appreciate the richness of the German composer's beloved achievement.
  2. Reaching for the Moon
    Everything ultimately gives way to the stately, simplistic, inevitable pace of by-the-numbers biopics, from some woefully tinny, hit-and-run screenwriting to the usual difficulties surrounding the dramatization of an author's craft.
  3. California Scheming
    The film is rescued from its own lumbering self-seriousness by Weber's sensitive portrayal of teen dynamics, but it's never as scary or as creepy as it needs to be.
  4. Swerve
    As it zigs and zags, its plot unravels rather than tightens, and its curveball of an ending is bound to leave audiences feeling as double-crossed as some of the characters.
  5. Twice Born
    The drama is undone by hyperventilating poetics and a busy time-hopping structure.
  6. It's Better to Jump
    This brief film often feels like an extended gripe session instead of something more profound or game-changing.
  7. Sabotage
    Artificially jacked up to feel like mean but serious fun, Sabotage mostly flings blood, vengeance, testosterone and clichés to the wall to see what sticks.
  8. The Wedding Ringer
    It's not quite a match made in heaven, but there is considerable comic chemistry between the high-octane Kevin Hart and the energy-conserving Josh Gad. A good thing since theirs is the only relationship worth watching in The Wedding Ringer.
  9. Revolution
    We, unfortunately, learn very little in this Earth Day release (originally completed in 2012) that we haven't seen before in more evolved, better focused documentaries.
  10. San Andreas
    Even by the non-Olympian standards of the disaster genre, San Andreas is chock-full of cliché characters, staggering coincidences and wild improbabilities.
  11. Cymbeline
    Despite Almereyda's invention in approaching this tawdry Shakespearean tale, he misfires badly. All that is left is the semblance of Cymbeline.
  12. Coyote
    Writer-director Joe Eddy's debut is sincere but relies on obvious tropes.
  13. The Wait
    Writer-director M. Blash's sophomore film is ethereal and trippy, told less in scenes than in oblique snatches, not unlike the experience of emotional paralysis. This approach grows wearying.
  14. The Gunman
    Instead of a pot-boiling crime noir like the one that exists in the pages of the late French novelist Jean-Patrick Manchette's "The Prone Gunman" (which sounds better in French), the adaptation is a frustrating fiasco that kills the material and squanders its exceedingly fine cast.
  15. And So It Goes
    The somnambulant slickness of the direction when a truly grown-up tale of late-in-life love is nipping at the edges suggests Reiner is more stubbornly set in his stay-cute approach than his leads, who at least find the occasional pocket of human messiness in this tension-free exercise.
  16. The Captive
    Although Reynolds rises above the rest as a father consumed by sadness and anger, The Captive quickly devolves into scenes that feel like stilted dramatic re-creations demanding a noirish voice-over by "Cold Case Files" host Bill Kurtis.
  17. 24 Exposures
    This brief, loosely-knit film never builds any empathy or tension.
  18. The Cobbler
    The gimmick is marginally amusing as Max tests it out in ways both naughty and nice. But so many holes, questions and contradictions arise that it's hard to square the rules of the game.
  19. The Saratov Approach
    Overall, writer-director Garrett Batty takes such a tempered approach, the film lacks the kind of gritty, visceral tension that life-and-death tales such as this normally demand.
  20. Knight of Cups
    The only thing that keeps Knight of Cups from terminal artistic overreach as it follows Rick around town is the knockout cinematography of three-time Oscar winner Emmanuel Lubezki, who does superb work showing us contemporary Los Angeles in a most magical way.
  21. Song One
    The movie is an album-sleeve-thin romance steeped in a self-congratulatory Williamsburg, Brooklyn, vibe.
  22. Equals
    Equals walls itself off from the suspense implicit in its scenario — it’s practically an anti-thriller — and barely flickers to life as a tale of forbidden desire.
  23. The Voices
    The big question here is why any of The Voices, as crisply made and stylish as it is, should matter or entertain. The cold truth is that it doesn't.
  24. The Returned
    Though an admirable shake-up of the typically overbearing, munch-intensive undead yarn, The Returned is still a far cry from the smarts-and-shocks zombie allegories George Romero mastered.
  25. The Bag Man
    It is the most nonsensical crime caper to make it on screen in a while.
  26. No God, No Master
    So much blandly sweeping, speechifying history and so little personalized dramatic focus turn No God, No Master into a series of issue-driven snapshots instead of something genuinely illuminating.
  27. Goodbye World
    An unconvincing, poorly conceived hybrid of end-of-the-world thriller and relationship drama.
  28. Jinn
    Magical swords, evil doppelgangers, a sexy black muscle car, an unremarkable final showdown and lots of first-draft dialogue factor into this thankfully brief (about 80 minutes plus end credits) frightfest.
  29. Love Is in the Air
    Though the actors' chemistry sets off no fireworks and the story is never truly involving, the movie does manage to avoid being outright painful.
  30. The Attorney
    The Attorney is on the side of justice, but it's a ham-fisted dramatization of real-life events that mistakes anger for persuasion.
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