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. Sleeping with Other People
    Though the leads lend charm and comic timing to the unpersuasive material, it would take a ground-up rewrite to make the fate of their characters matter.
  2. Don Verdean
    While the corrupt Indiana Jones conceit certainly held promise, the Hesses fail to move it much further beyond that "what if" premise, taking weak, obvious potshots at its fundamentalist target.
  3. Every Thing Will Be Fine
    The visually stirring format proves unable to lift the story and performances out of a prevailing, airless stupor.
  4. Last Knights
    The medieval-tinged adventure Last Knights will test your patience for speeches about honor, grim declarations of loyalty and pre-battle glowering.
  5. Ana Maria in Novela Land
    The script, co-written by director Georgina Garcia Riedel and Jose Nestor Marquez, plays like a first draft that misses out on comic opportunities.
  6. My Life Directed by Nicolas Winding Refn
    If you are a cinephile or an aspiring filmmaker looking for some behind-the-scenes edification, there's little.
  7. Snowden
    There’s a deeper emptiness at the core of the movie, a failure of nerve and a fundamental incuriosity about what makes the Snowden affair interesting and relevant, then and now.
  8. Futuro Beach
    If director-co-writer Karim Aïnouz has set out to depict soulless gay lives, he has more than succeeded.
  9. The Dead Lands
    The only aspects of the tale that seem uniquely Maori are the action sequences featuring the martial art of mau rakau. Aside from intermittent dream sequences in which Hongi communicates with his late grandmother (Rena Owen), the storytelling is Westernized.
  10. Hayride 2
    There are tangible improvements in the techniques of writer-director Terron R. Parsons. But some of the nagging plot holes remain unresolved.
  11. Lost and Love
    By ambitiously aiming to encompass the full scope and complexity of the social pandemic, Lost and Love winds up being all over the map.
  12. Can't Stand Losing You: Surviving the Police
    The more recent concert and backstage material, assembled by director Andy Grieve, lacks the energy and immediacy key to dynamic performance films.
  13. Mike and Dave Need Wedding Dates
    On the wildly uneven rollercoaster that is Mike and Dave Need Wedding Dates, the lows far outweigh the highs.
  14. Earth's Golden Playground
    It might also have been nice to have included some archival footage that would have illustrated how little the Yukon River setting has changed over the last century, but Horvath appears to have no interest in digging any deeper.
  15. The Face of an Angel
    Like the floundering filmmaker at its center, The Face of an Angel never seems sure of what story it wants to tell.
  16. Zoolander 2
    Zoolander 2 defines haphazard. You may smile at times, but not as often as you'd like.
  17. Dial A Prayer
    Snow is excellent, though, as she attempts to inhabit her murky character. If only we had a better sense of what the movie was trying to say about faith — or the lack thereof.
  18. Dawn Patrol
    As over-the-top operatic and inexplicable as Dawn Patrol can be, producer and star Eastwood remains captivating and charismatic, ultimately serving as a grounding element within the swirl of emotional drama and almost saving the film from going overboard.
  19. Club Life
    The film is undermined by choppy editing and a penchant for hoary aphorisms and forced gravitas.
  20. The Human Experiment
    Co-directors Dana Nachman and Don Hardy haven't attributed all of their facts and figures, hence the proverbial grain of salt.
  21. The Vatican Tapes
    Writers Christopher Borrelli and Michael C. Martin commit quite a handful of sins of contrivance that are difficult to absolve.
  22. Aloft
    Dreariness seems to be the filmmaker's shorthand for authenticity here. Without any realism to ground it, the movie's spiritual story line feels aloft — swirling around but never dramatically landing.
  23. Cas & Dylan
    It's a testament to the stars that they manage to sell the third act sentimentality after wading through so much screenplay triteness and unimaginative direction.
  24. The 11th Hour
    Writer-director Anders Morgenthaler's conclusion comes far too hastily and haphazardly, with a disregard for plot details or plausible storytelling.
  25. Maya the Bee Movie
    Talky, relentlessly affirming and as predictable as a paint-by-number.
  26. Strangerland
    Though Kidman is solid as a wife and mom tormented by her daughter's secret erotic life, Strangerland never successfully welds its central mystery with its psychosexual drapings, leaving neither especially interesting.
  27. American Ultra
    The action set-pieces and the comedic character scenes in the film seem to be taking turns and are rarely brought together in a meaningful way.
  28. Barely Lethal
    The premise, that high school is more perilous than a life of espionage, is witty and full of potential. But Newman makes that case by staging his car chases and fight scenes with as much sense of drama as eighth-period trig.
  29. The Fate of the Furious
    The series seems to have at last entered its frustrating, decadent, spinning-its-wheels phase.
  30. The Benefactor
    What begins as an intriguing psychological thriller devolves into an addiction drama, growing less interesting as it proceeds and giving costars Dakota Fanning and Theo James little to do.
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