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. Down and Dangerous
    It's so predictable in its beats and pedestrian in its execution that a viewer can slip in and out of consciousness, confident she won't miss much and will know exactly where in the story she is when she awakes.
  2. The Legend of Tarzan
    As written by Adam Cozad and Craig Brewer, The Legend of Tarzan alternates between a brazenly contemporary sensibility and quietly time-honored events. Unfortunately, almost all of the former are awkward while the latter still ring true.
  3. Black Out
    In terms of character and plot, not one element of the intended wild ride escapes self-consciousness or becomes the least bit involving.
  4. Tasting Menu
    Director Roger Gual presents little in the way of tantalizing culinary visuals, and that leaves the paper-thin characters as the main course.
  5. The Activist
    It's an intriguing setting — and set-up. But a lack of subtlety in the writing and much of the acting (particularly Circus-Szalewski and Ron Roggé as a pair of good cop/bad cop jailers) mitigate the power of the caged men's plights as well as the movie's intended tension.
  6. The Den
    Like many found-footage films before it, The Den never entirely suspends disbelief. It doesn't satisfyingly account for how the characters are producing all the footage.
  7. Dark House
    Salva manages a few inspired scenes... But the lasting image Dark House offers is of the screenwriters hurling everything they can think of at the wall.
  8. Hateship Loveship
    Unlike the teeming world living between the lines in Munro's story, there is not nearly enough in Hateship Loveship to keep you invested.
  9. Space Station 76
    Director Jack Plotnick and his co-screenwriters Sam Pancake, Jennifer Elise Cox, Kali Rocha and Michael Stoyanov fail to nail a satisfying theme, narrative or purpose.
  10. Refuge
    Whatever emotional depths filmmaker Jessica Goldberg hopes to suggest, there's nothing stirring beneath the movie's static surface.
  11. The Hero of Color City
    The story and characterizations never get much deeper than "We're all special in our own way."
  12. Make Your Move
    Its core dance styles are a wonderfully frenetic fusion of tap and hip-hop and a truly novel blend of Japanese taiko drumming and K-pop girl-group choreography. Whenever actor Derek Hough and BoA stop leaping and twirling, though, Make Your Move is an underwritten mess.
  13. Emoticon
    Director-star Livia De Paolis sets out to reassure everybody that the Internet won't destroy all relationships in her agreeable but unnecessary family drama Emoticon ;).
  14. Detonator
    A repetitive, sluggishly paced nocturnal rumination on why we bother reuniting with old friends we purposefully left behind.
  15. The Love Punch
    With their unforced magnetism, Brosnan and Thompson are persuasive as exes who still have chemistry... They have the verve and comic chops to ignite sparks, à la Cary Grant and Rosalind Russell, but this Punch never truly connects.
  16. Let's Be Cops
    The movie relies too much on the same comic tension in each scene: Johnson is the gung-ho one, Wayans says no (a lot).
  17. That Demon Within
    Not unlike most of its Hollywood counterparts, though, this Hong Kong import can't resist the urge to dumb down a fascinating premise for the sake of mass consumption.
  18. Third Person
    In blurring the lines between truth and fiction as well as right and wrong, Third Person maddens far more than it intrigues. Indeed, more curious than anything about the movie itself is how such an artistic stumble happened.
  19. Documented
    The film blurs lines between documentary, reality television and "Candid Camera," with Vargas instigating the proceedings.
  20. Mr. Jones
    Mr. Jones has the bones of something freaky but succumbs to a penchant for alienating chaos over sustained, abiding creep.
  21. Lullaby
    Everything unfolds at a glacial place, with so many emotional beats overplayed that the experience is more wearing than moving.
  22. How We Got Away with It
    By performing narrative gymnastics, the film sacrifices any possibility for viewers to identify with the characters. Although the film does answer the myriad questions it raises along the way, it would have benefited from more straightforward storytelling.
  23. Point Break
    It's a movie that's almost all style, all technique. It doesn't seem to be inhabited by people, thoughts or feelings, but by great coruscating patterns of light crashing over and over us, repeatedly--almost, but not quite, drowning out a constant buzz of cliches.
  24. Wild Tales
    Revenge may be a dish best served cold, but Argentine writer-director Damián Szifron allows it to sit until it congeals in the dreary six-part anthology Wild Tales.
  25. Test
    The AIDS scare remains as much window dressing as do other period details such as rotary phones and cassette tapes. Test seems to be about dance above all, with choreographed montages filling the bulk of its running time.
  26. I Am I
    First-time writer-director Jocelyn Towne takes an admirably novel stab at familial dysfunction in her father-daughter drama I Am I, but she proves unable to keep the film's originality from rapidly curdling into preposterousness.
  27. Very Good Girls
    Despite a finely wrought lead performance by Dakota Fanning, the drama feels more like the stuff of a mild — and dated — YA novel than an involving exploration of female experience.
  28. Jealousy
    Conventional dramatic hooks have no place in Garrel's filmography, so it's not surprising that his new movie is more atmospheric than involving, or that the two beautiful bed heads at its center hardly invite emotional connection.
  29. Video Games: The Movie
    It's a lovefest in which critics' voices and debate are simply absent, and the only talking space is wonder, nostalgia and excitement for the future.
  30. About Alex
    The movie stalls in a limbo of half-realized characters and superficial weightiness.
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