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. Risen
    Risen is a fascinating cultural artifact, but as a film, it's destined for no glory greater than as an appropriate cable rerun on Easter.
  2. Narcopolis
    Narcopolis starts off intriguingly and ends solidly. It's everything else in between that isn't particularly compelling.
  3. Asthma
    The soundtrack is fantastic and Samuel eminently watchable, but "Asthma" suffers from near-lethal doses of self-satisfied hipness.
  4. Mediterranea
    Writer-director Jonas Carpignano glosses over much of the sociopolitical context in his depictions of the chain of events.
  5. The Resurrection of Jake The Snake
    Roberts is a compelling figure.... But the movie itself is ragged and routine.
  6. The Funhouse Massacre
    Honestly, The Funhouse Massacre isn't quite enough of either.
  7. The Man Who Knew Infinity
    If The Man Who Knew Infinity had been more concerned with the soul of a raw talent instead of the learn-and-earn ethos of so much accomplishment cinema, it might have produced something soulful rather than something institutional.
  8. OzLand
    The ideas are not deep enough and the dramatic tension isn't real enough to sustain this feature.
  9. The Looking Glass
    Tristan's creaky, often episodic script attempts to tackle some big topics — art, love, loss, family bonds, mortality — but does so in such a forced, talky way that it's hard to buy into the tale's earnest emotional core.
  10. Kingsman: The Golden Circle
    It pulls off the impressive feat of feeling both hyperactive and lazy. This is hardly the first time a major Hollywood franchise has succumbed to narrative flabbiness, or invested in grand, elaborate world building with the kind of devotion that far outstrips the viewer’s interest.
  11. Rock in the Red Zone
    Through a first-person narration, Bialis makes much of the film about herself. Her account certainly turns the daily travails of living in Sderot into something tangible for viewers. But at the same time, her life-experience narrative proves a distraction and a disservice to the promise of the film's title.
  12. Snatched
    Snatched may represent a failure of sensitivity, but it’s an even greater failure of nerve.
  13. Collide
    The action sequences are strong, with spectacular crashes and explosions, dynamic camera moves and tight cuts that at times give the film an appealing breathlessness. But the cast takes a too-lax approach to this material.
  14. The Death and Life of John F. Donovan
    The movie feels disjointed and made up of parts that Dolan couldn’t bring together as it shuffles between three story strands.
  15. Stinking Heaven
    While the early going might bring to mind the Dogme 95 school of stripped-down filmmaking...the result, with its collective of uniformly unsympathetic characters, ultimately overdoses on all the unscripted bad vibes.
  16. Iraqi Odyssey
    With the mixing of the sprawling family tree with geopolitical imbroglios already proving daunting for viewers, the filmmaker exacerbates the confusion by eschewing a linear chronology.
  17. Outlaws and Angels
    While Mollner elicits some strong performances — especially from Francesca Eastwood as a vengeful farmer’s daughter — Outlaws and Angels can’t overcome its distractingly showy camera moves or its tendency toward scenes that drag on interminably.
  18. Moomins on the Riviera
    "Riviera" suffers from a weak story with an obvious ending.
  19. Fantastic Beasts: The Crimes of Grindelwald
    The Crimes of Grindelwald is somehow both hectic and leaden, a thing of exhausting, pummeling mediocrity. It offers up dazzling feats of sorcery and realms of wonderment (early 20th-century London and Paris among them) and manages to conjure the very opposite of magic.
  20. Monster Hunt
    While individual sequences are genuinely entertaining, Monster Hunt remains considerably less than the sum of its many parts.
  21. King Arthur: Legend of the Sword
    Somehow hectic and lumbering, diverting and dispiriting all at once, this mud-toned medieval pulp largely cleaves to the spirit of Ritchie’s “Sherlock Holmes” series, reducing a fabled figure of British lore to two hours of tough-guy swagger and head-pounding digital thwackery.
  22. Unlucky Plaza
    Writer-director Ken Kwek means for the proceedings to be farcical, but seldom are they actually funny. A former journalist, he's quite observant of the clashes among the classes and cultures in this diverse society.
  23. Elvis & Nixon
    Elvis & Nixon meanders its way into the big encounter with a tone too wacky and cutesy to whet our appetite for strangeness.
  24. Admiral
    With loving shots of booming, towering ships so dominant, and decades squeezed into what feels like a week of action, there's barely enough time to develop De Ruyter as a character in his own movie, or even successfully explain his war strategies.
  25. Term Life
    Term Life is cleanly plotted and tautly paced, but it’s never as fun as it should be.
  26. JeruZalem
    JeruZalem is just a wobble-a-thon with incessant screaming and a predictable trajectory for its leading ladies, even if the final, arresting image of a malevolently transformed skyline makes one wish a more enticing, original road had led there.
  27. The Fundamentals of Caring
    The Fundamentals of Caring is a strained, overly familiar tale of catharsis and redemption. Stars Paul Rudd and Craig Roberts work hard but are torpedoed by writer-director Rob Burnett’s wanting script (adapted from the novel by Jonathan Evison), thudding stabs at buoyancy and sluggish pacing.
  28. 4th Man Out
    Old stereotypes are trotted out for humor's sake, and it's not a question of offensiveness, just that the jokes feel 10 years old.
  29. Get a Job
    The payoff is sporadically rewarding at best.
  30. Ava's Possessions
    Ava's Possessions is powered by an amusing conceit that configures demonic possession as a metaphor for addiction. But the metaphor alone is not enough to sustain this minor effort, which wears thin over the course of a feature length.
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