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. A Perfect Day
    It suffers from a marked lack of narrative energy and a regrettable surfeit of clichéd characterization.
  2. Tumbledown
    Tumbledown sees its good intentions undermined by cloying sitcom conventions.
  3. Runoff
    The low energy pace and performances strive for naturalism but just don't achieve compelling tension or suspense.
  4. Do I Sound Gay?
    Writer-director-star David Thorpe attempts to probe the whys and wherefores of what he calls the stereotypical "gay male voice," but he ends up crafting a naval-gazing self-portrait that's unflattering, inconclusive and, at times, a bit specious.
    • 53 Metascore
    • 40 Critic Score
    The Program
    The Program pedals fast, but the end result is little more than a psychologically shallow recap reel.
  6. The Runner
    The plodding film goes awfully heavy on script exposition and all too light on character depth, leaving Cage and company — including a smartly cast Peter Fonda as his been-there, done-that alcoholic dad — to come up with their own complexity.
  7. Stung
    Unfortunately, the human relationships depicted here are less credible than the solid special effects.
  8. I Am Chris Farley
    Perhaps fearful of venturing into downer territory, I Am Chris Farley sticks to slickly edited, bite-sized anecdotes about an attention-starved Midwestern goofball unprepared for stardom, accompanied by storybook music that accentuates Farley's childlike nature over his darker impulses.
  9. Partisan
    It's hard to tell if director and co-writer Ariel Kleiman is being serious or sarcastic with a story this preposterous.
  10. Northern Limit Line
    The film's apparent faithfulness is admirable, but interviews with actual survivors shown during the end credits provide more impact and resonance than the rest of the film can muster.
  11. Slow Learners
    Being big on improvisation doesn't necessarily mine nuggets of comic brilliance, and there are times you wish Argott and Joyce would have adhered more closely to the Matt Serword-penned script.
  12. Demolition
    Demolition is a well-meaning misfire, terribly earnest but unconvincing for all of that.
  13. Addicted to Fresno
    Beyond a few nice closing emotional beats, the whole enterprise plays too desperate and slapdash to whip up the goodwill required to sell such thin, far-fetched material.
  14. Paulo Coelho's Best Story
    At the expense of emotional depth, Augusto emphasizes the story's sensory aspects. Sometimes this works, sometimes it's overkill.
  15. Extinction
    More filmmakers should treat the zombie subgenre as allegorical, the way George A. Romero intended. But Extinction and "Maggie" both arrive at the same conclusion about fatherhood, thereby confirming it as a cliché rather than a coincidence.
  16. Air
    The film is most effective when Bauer and Cartwright are battling the surroundings instead of each other.
  17. The Perfect Guy
    Despite its serious imperfections, the soapy escapism provided by The Perfect Guy at least arrives at an opportune time.
  18. Hellions
    Hellions is art book horror, something to flip through but never truly eerie or scary.
  19. Money Monster
    Money Monster is all over the map, mixing earnest contemporary relevance, black comedy, bogus emotion and tragedy with its nominal thriller plot, all to frankly bewildering effect.
  20. Shooting the Warwicks
    The movie can't do much to address the inherent flaws in the premise.
  21. The Iron Ministry
    Filmmaker J.P. Sniadecki withholds judgment and resists editorializing, but the result is frustratingly nebulous and devoid of context.
  22. Searching for Home: Coming Back From War
    Searching for Home: Coming Back From War touches on wide-ranging veterans' issues, but goes no deeper than that.
  23. A Reason
    Unfortunately, A Reason doesn't have enough story to justify its running time of nearly two hours, and though the performers are skilled, the melodramatic score and deliberate pace result in a piece that is overwrought but underdone.
  24. The 5th Wave
    Director J Blakeson can't quite maintain the film's momentum while squaring its disparate parts, malleable story rules (weren't all power sources destroyed?), hokey dialogue and a crisscross of often one-note emotions.
  25. Tokyo Tribe
    While the gangsta lyrics and posturing are laden with cliché, there's still some novelty in sustaining a rap narration for nearly two hours. But whenever the music stops, the film can never stay in the game by landing on a figurative chair.
  26. Where to Invade Next
    How much filmgoers enjoy it may depend on how much they enjoy the mixture of smugness and naivete in a college sophomore.
  27. Hardcore Henry
    Hardcore Henry is a single-gear novelty that never achieves real liftoff.
  28. Montana
    Although the lead performances, including a turn by Michelle Fairley (Catelyn Stark on "Game of Thrones") as a no-nonsense police chief, are uniformly solid, the hollow Montana has trouble unloading all those stolen parts.
  29. Veteran
    This is a tonally and visually inconsistent piece whose cracks at "Lethal Weapon"-style humor are needlessly silly or simply flat.
  30. Shah Bob
    The writer-director, Babak Shokrian, has made an erratic autobiographical film about juggling artistic ambitions and family expectations in L.A.'s close-knit Iranian Jewish community.
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