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. Into the Mirror
    Into the Mirror is deliberately opaque, for better or worse, more concerned with images and mood than concrete details.
  2. Madam Yankelova's Fine Literature Club
    It’s a workable fantasy setup that’s undermined by a seemingly deliberate lack of detail about the characters, the Club and the world at large. Midway, the story takes a potentially intriguing turn but becomes more muddled than masterly.
  3. MAD?
    Rifkin’s crafty determination to embellish production value constraints with campy transitions and an eerie use of colored light is commendably spirited. Ultimately, however, its aesthetic ambitions trample the substance that occasionally shines through.
  4. Hot Pursuit
    Romance and comedy are dumped in favor of carnage: a self-sabotaging decision for what might have been a cute, enjoyable movie.
  5. Funny Farm
    Funny Farm --a weak-fish-out-of-water comedy about a New York City couple who see their rural paradise turned into a rustic hell--is a movie with a doubly deceptive title. This movie isn't about a farm, and it isn't very funny, either.
  6. Bright Lights, Big City
    While Bridges is a capital stylist, "Bright Lights" needed a great deal more than style. (Real emotion, for one thing. Believability might also have been nice.) And while Fox is puppyish and charming, his character, Jamie, has to go through a real epiphany during the film's weeklong time frame and Mr. Fox is hard-pressed to suggest a two-Excedrin headache.
  7. Next of Kin
    After a fairly good, tense opening, it keeps rolling up one preposterous scene after another.
  8. Desolate
    While the story’s nothing special, the world of Desolate is memorable, with its tribal rivalries and sleazy black markets. It’s a vision of the end-times that disturbingly resembles the dying small towns of America in 2019.
  9. Brahms: The Boy II
    Like its predecessor, “The Boy II” is a fairly corny and stodgy spook-show, with a few good jolts and one genuinely creepy killer toy.
  10. The Price for Silence
    An unconvincing, late-breaking tragic turn; several dubious, go-nowhere supporting characters; and a blurrily provocative ending don’t help.
  11. Ring Ring
    The three principal actors are all pros, with plenty of TV and movie credits; and they’re charismatic enough to be good company. But the story around them keeps changing every 20 minutes and lacks payoffs. It’s like a series of uncompleted writing prompts.
  12. Kings of Beer
    Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.
  13. Thor: Love and Thunder
    As this latest gets under way, Thor has recovered his enviable god-bod but still has little sense of purpose. The problem with “Love and Thunder” is that it seems to reflect this identity crisis while pretending to solve it.
  14. Don't Let Go
    The time-traveling investigation is indeed optimistic, but in reality and execution, it’s just magical thinking wrapped up in a fussy, overly convoluted plot.
  15. Sextuplets
    The movie surely isn’t meant to be mean. But there’s an underlying sourness that makes Sextuplets much less fun than the pictures it’s imitating.
  16. To Wong Foo Thanks for Everything, Julie Newmar
    Unconvincing and annoying, a miscalculation on numerous fronts, it is finally sugary enough to make the sentimental Priscilla play like a model of icy restraint.
  17. Seberg
    Stewart is enough of a force to give Seberg’s darkest moments their due, but it’s too little, too late for the superficial soup that is the movie that bears her name.
  18. One Last Night
    While the tone of One Last Night is appropriately breezy — and while newcomer Schank makes a wonderful first impression — in a “strangers spend a long evening talking” story, the characters should be more witty and wise, and not as vaguely defined as this pair.
  19. High Strung Free Dance
    This follow-up to 2016’s “High Strung” has its visual dazzle and performance highs but the story and characters are just too fake, chaste and grit-free to take seriously.
  20. Halloween Ends
    Halloween Ends has the feeling of dour obligation, and it’s clear that no one’s heart is really in this anymore, the limits of narrative possibility in Haddonfield stretched beyond their max.
  21. Slam Dance
    It would be tempting to say that inside “Slamdance” is a remarkable movie struggling to free itself from conventional trappings. But the opposite is true. The trappings are what dazzle you; the interior of “Slamdance” is exactly what isn’t remarkable.
  22. South Central Love
    South Central Love tries to deal with heavy issues with grace, but its clumsiness undercuts its message.
  23. Wicked Witches
    Wicked Witches is almost like a segment from an old British horror anthology. It’s simple, direct, rich in local color and dripping with irony. But it’s been stretched to about triple its ideal length.
  24. Navy Seals
    The reactionary empty-headedness of this R-rated movie gets to you, spoiling whatever comic-strip enjoyment it might have had. In the “Rambo” movies, you’d have to be almost as much of a lunkhead as Rambo to take their “politics” seriously. But “Navy SEALS,” directed by Lewis Teague, isn’t scaled to be a cartoon; it’s more like a hypercharged military training film.
  25. Lionheart
    Being able to kick people in the head, at least while they’re standing up, is no negligible talent--though Lionheart is a pretty negligible movie. It has that grotesquely off-scale exaggeration of many post-'80s action movies.
  26. Empathy, Inc.
    A killer concept falls frustratingly short of the finish line in Empathy, Inc., a dark morality tale that ambitiously casts contemporary technology in a throwback visual setting.
  27. I Still Believe
    Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.
  28. Mary
    The idea of this boat as a last-ditch play to save a marriage is fine as an inciting incident, but it ends up steering the story way too much. Oldman and Mortimer play the drama in “Mary” well. Too bad they don’t get much chance to play the horror.
  29. Mister America
    Prolific actor-comedian-musician Tim Heidecker may have a sizable cult following but it’s doubtful he’ll find many new fans with his latest effort, the tedious and laugh-free mockumentary Mister America.
  30. Revenge
    The plot for Revenge, based on Jim Harrison’s 1978 novella, seems ideal for a great galvanizing pulp thriller, but the movie bogs down in melodramatic murk.
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