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. The Perfect Date
    From the casting of Centineo to the climax at a school dance, The Perfect Date feels engineered by Netflix algorithms. The resulting film, directed by Chris Nelson, feels as inauthentic and unsure of its identity as its hero.
  2. Instant Dreams
    As long as he maintains his focus on the notoriously private Land and the painstaking efforts of Impossible Project’s chief technology officer and Polaroid vet Stephen Herchen to recapture lightning in an SX-70, Baptist delivers something reasonably compelling. Unfortunately the bulk of the overly artsy production is preoccupied with the exploits of others.
  3. The Holy Fail
    Perhaps he was too distracted by wearing so many hats (Dara also performs the self-penned Once-style ditties on the twee soundtrack), but both he and Lancaster didn’t bother to imbue their sketchy characters with sufficient likability.
  4. Thriller
    Thriller falls back on the old horror formula of bland, often mean-spirited young folks, getting slaughtered one by one … and without near enough flair.
  5. Know Your Enemy
    While Feldman — a veteran screenwriter making his directorial debut — brings plenty of storytelling craft to the picture, Know Your Enemy falls short of being as eye-opening as he intends. A strong sense of mystery and two searing lead performances can only counteract so much of the contrivance here.
  6. Dreamland
    The new Margot Robbie vehicle Dreamland seems to be about legends, the price of escape, maybe unreliable narrators — but ends up not saying much about any of them.
  7. Isabelle
    Amanda Crew and Adam Brody give bracingly realistic performances as a grief-stricken couple in “Isabelle,” a supernatural thriller ultimately too sensationalistic to make proper use of the stars’ excellent work.
  8. The Convent
    The film’s well-made, thick with spooky 17th century atmosphere. But it’s also as dreary as its setting, with little original or exciting to add to an already limited horror sub-genre.
  9. Lying and Stealing
    The jaunty, neo-noirish crime outing Lying and Stealing has its moments — chiefly the engaging performances of sexy leads Theo James and Emily Ratajkowski — but is too short on depth and logic to prove much more than a glossy, forgettable trifle.
  10. Tesla Nation
    Less would have been more here; a less scattershot approach would have yielded a more resonant film.
  11. Clara
    Writer-director Akash Sherman gives the film a handsome look, and gets two strong lead performances, but his picture still comes out too static and somber.
  12. Daughter of the Wolf
    Daughter of the Wolf could’ve used a jaw-dropping set-piece or two (or three or four), but Hackl does at least embrace the challenge of shooting outside in the cold, and the movie’s moderately better for it.
  13. Project X
    Project X strains credibility. Too often it seems an overreaching variation on "WarGames."
  14. Coyote Lake
    The setting and the characters are fairly unique. But they’re put to fairly mundane use, in service of a blah coming-of-age tale.
  15. Head Count
    Most of the first half of director Ellie Callahan’s supernatural thriller Head Count feel like a waste of time, made all the more frustrating once the movie starts to improve.
  16. The 16th Episode
    In the end, the most disturbing thing about The 16th Episode is how good it might’ve been if Cohen-Olivar had figured out how to fill the whole picture with the personality at its center.
  17. We Have Always Lived in the Castle
    Heightened but airless, this “Castle” is like a checklist of the novel’s peculiarities, rather than its singular soul brought to life.
  18. The Professor
    The movie, which comes off strangely wide-eyed about such “outré” things as marijuana and same-sex attraction, evokes some 1970s-era George Segal vehicle as it struggles to pair hip defiance with come-to-Jesus-style pathos, the latter of which provides a few of the film’s more compelling moments.
  19. Slaughterhouse Rulez
    There’s nothing particularly awful about the film (title aside), but it never develops into the “Shaun of the Dead”-like social satire it strains to be.
  20. Supervized
    The actors all look like they had a wonderful time making Supervized, but the material they were given to play is pretty dopey, and way too basic. It’s an insult to superhero fans and senior citizens alike.
  21. Assimilate
    There’s nothing especially original about “Assimilate.” But director John Murlowski and a talented young cast — including Joel Courtney, Calum Worthy and Andi Matichak as the plucky high schoolers trying to save their town — do at least keep the action lively and unpretentious.
  22. Find Me
    As the true purpose of the quest becomes clearer, Huang raises the film’s stakes, aiming for a profundity that he can’t quite hit — though he takes a solid shot.
  23. Saving Zoë
    The mystery plot isn’t surprising enough — and it takes at least a few good jolts to create the cinematic equivalent of a page-turner.
  24. Astronaut
    A sluggish drama about aging and holding onto your dreams.
  25. Summer Night
    Meant to feel either lived-in or spontaneously passionate, these poorly written relationships don’t project the effervescence of living in the moment nor the fickleness of what’s to come.
  26. Vault
    The movie too often plays like a regional theater production of “Goodfellas,” marred by some hammy dark comedy and off-the-rack tough-guy dialogue. The passion of the people behind this project is evident, and appreciated.
  27. Cold Blood
    Cold Blood is well-made but hard to warm to — although it might satisfy nostalgic Reno fans, eager to see him playing a silent, hulking assassin yet again.
  28. Rad
    It lives on its action and dies on its gab. It also would have been better without all those songs about catching the thunder and grabbing the lightning and going for the glory. They sound like a rejected ad campaign for Old Milwaukee. In movies like this, action is often enough--but here, it's just not radical.
  29. Killer Unicorn
    The strong sensibility and the unabashed sensationalism overcome some (but not all) the movie’s amateurism. The raggedness is part of the charm, making “Killer Unicorn” feel like the filmmakers’ deeply personal craft project.
  30. Iron Sky: The Coming Race
    Just like the first Iron Sky, the sequel is frustratingly unfocused as a commentary on the modern world — and even more so as a story. It has the seeds of several nifty ideas, scattered loosely, left untended.
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