Los Angeles Times' Scores

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For 16,533 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 2.2 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: 8,703 out of 16533
  2. Mixed: 5,813 out of 16533
  3. Negative: 2,017 out of 16533
16533 movie reviews
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  1. Little Pink House
    It's confusing and inconsistent, and no amount of Keener can truly anchor it.
  2. Social Animals
    Social Animals is far darker than its colorful, exhibitionist exterior lets on. As the film builds to a climax, it swings wildly in tone, each scene feeling disconnected from the one before.
  3. Carter & June
    This crime spree may have style to spare, but that's about all that's holding it together.
  4. Rambo: First Blood Part II
    Rambo is an inane sequel to a fairly good melodrama; another example of an attempt to repeat an earlier success that goes wildly out of scale.
  5. Iron Eagle
    Iron Eagle has an unintended hilarity that builds and builds. But don't take this as one of those so-bad-it's-good endorsements: The film is a total waste of time.
  6. Woman Walks Ahead
    Deviations from the historical record aren’t a problem in and of themselves; it’s what those deviations add up to (or don’t), and what they say about the motivations of the artists behind them.
  7. All Summers End
    Writer-director Kyle Wilamowski smothers his bid for nuanced emotion in the cardboard mechanics of bad-decision drama.
  8. Ray Meets Helen
    This mannered character study comes across as more affected than affecting.
  9. Train to Zakopané
    Among the more glaring issues are performances that sound distractingly contemporary and obvious budget constraints that serve to suffocate the overly talky chamber piece instead of providing much-needed breathing room.
  10. Distorted
    What the movie does have going for it is Ricci, who in the past few years has become a master at playing offbeat heroines in violent stories. Ricci is convincingly terrified in a film that’s never scary enough to justify her performance.
  11. Goodland
    Doke's cast of unknowns has trouble bringing a convoluted plot to life. As it unfolds, Goodland stacks up more preposterous B-movie notions than Doke's thin script can support.
  12. The Debt Collector
    Johnson tries too hard to make all his mayhem meaningful, to minimal effect. Still, this picture should entertain Adkins’ growing base of fans, who ought to appreciate that the star gets more freedom than usual to be delightful as well as dangerous.
  13. Set It Up
    You don’t need to be well-versed in rom-coms to know that, in the process, Harper and Charlie will ultimately fall into each other’s arms, but getting there proves to be a slog courtesy of screenwriter Katie Silberman’s talky, sitcom-ready dialogue and director Claire Scanlon’s ponderously uneven pacing.
  14. Less Than Zero
    There's a razzly-dazzly beauty in Barbara Ling's designs and Kanievska and cameraman Ed Lachman shoot them wittily. But it's swallowed up in the story's empty outrage.
  15. Sirens
    Given the flimsiness of the material, why settle for D. H. Lawrence when you can have the Playboy Channel instead?
  16. Siberia
    Despite its pro-forma nature, the setup for Siberia — a lone hero in over his head in an unfamiliar world — actually starts out well but refuses to play out in satisfying ways.
  17. Broken Star
    The situation and the performances are strong, but without a good story to hold everything together, it all falls apart in the end.
  18. Incident In a Ghostland
    There’s real ugliness here, with the creative torture visited on the victims being enough to unsettle all but the most hardened of horror fans. Unfortunately, the ugliness isn’t solely in the on-screen violence. Transphobia and misogyny flow through the film as much as blood, staining what might have been a solid genre effort.
  19. Intersection
    The modestly watchable, at times intriguing romantic mystery Intersection is never quite skillful or convincing enough to forget for even a moment how many far better haunted hunk-meets-femme fatale thrillers have come before it.
  20. American Ninja 2: The Confrontation
    Sam Firstenberg--a decent enough action director who's shepherded along three previous ninja movies--here has a story so preposterous that nothing short of a mutiny could make the movie work.
  21. Racing Colt
    There’s some well-crafted dialogue and decent acting, including from Joseph R. Sicari as a besieged producer. But this overly talky and stagey film, which takes place mostly in Colt’s hotel room and trailer — and frustratingly off-set — lacks the requisite catharsis and charisma to sufficiently engage.
  22. Christian Audigier the Vif
    Christian Audigier the Vif lacks the strong narrative structure that would make it a better documentary, and it often skips details about Audigier’s life and experience that might have offered deeper insight into the designer.
  23. Elizabeth Harvest
    Gutierrez is ultimately too enamored of his quasi-feminist, visually convulsive upending of damsel myths to let his actors enjoy themselves the way De Palma or Dario Argento would.
  24. Moss
    Given the script’s basic dialogue and narrow characterizations, it’s fortunate that there’s such an evocative locale to help us further imagine the lives of the film’s idiosyncratic folks.
  25. Teenage Mutant Ninja Turtles II: The Secret of the Ooze
    In most ways, a sequel-as-usual: a little warmer, with slightly less zip and flurry.
  26. Breaking & Exiting
    Actor-turned-director Peter Facinelli makes his behind-the-camera debut, and beyond the film’s many script issues, it’s not entirely without its charms. Peter and Daisy might not make sense, but Gibson and Hinson almost sell it with strong chemistry.
  27. A Happening of Monumental Proportions
    Judy Greer, the wonderful film and TV actress, makes an inauspicious directing debut with this unevenly paced, tonally awkward comedy.
  28. Jungle Cruise
    Jungle Cruise, despite its more-than-capable leads and its much-vaunted attention to detail and verisimilitude, never feels transporting in the way that even mediocre blockbusters were once able to muster. It’s less an expedition than a simulation, a dispatch from a wild yet oddly pristine world where seeing is never close to believing.
  29. Hope Springs Eternal
    Hope Springs Eternal is fine as a leading role for Frampton, who has had small supporting roles in bigger projects such as “Bridesmaids,” but her star power far exceeds the boundaries of this limited project.
  30. 3 Men and a Little Lady
    Other than Shaw's turn, which gets dampened in the determinedly frolicsome finale, there's little to like in Three Men and a Little Lady. Selleck is charming. Danson, aided by latex and a Carmen Miranda outfit, has two funny scenes. Travis has a lovely smile, which she overuses.
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