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. 47 Ronin
    Rinsch, making his feature debut, shows the shortcoming of someone coming from the image-based world of commercials and advertising. There are moments of genuine beauty and a few terrifically eye-popping effects, but no feel yet for storytelling.
  2. Ouija
    The ghost scenario that this boring, CW-ready, "Scooby-Doo" gang uncovers isn't nearly as shocking as the blasé attitude they have toward friends dying off.
  3. Dylan Dog: Dead of Night
    Brings vampires, werewolves, zombies, detective noir and spoofy comedy together for a murky genre gumbo with barely any flavor.
  4. Jack the Giant Slayer
    With some momentary exceptions, Jack the Giant Slayer simply isn't any fun.
  5. Meeting Spencer
    A lame, tedious comedy.
  6. Wrath of the Titans
    The film lacks inspiration or zest in storytelling, performance or action. This is pure product, a movie desperately without energy or enthusiasm of any kind.
  7. Footprints
    This often risible head-scratcher never cracks the surface of its muddled ambitions, largely wasting its iconic settings on a series of motley interactions, Tinseltown trivia and self-conscious philosophizing.
  8. The Art of Getting By
    Unformed protagonists don't come more wallowingly irritating and contradictory than George.
  9. Dirty Girl
    Writer-director Abe Sylvia slathers on the cartoonish characterization and neon-colored '80s pop - Benatar! Joan Jett! The Outfield! - for an easy-bake mood-setting, which is tedious enough. But his attempts at situational humor on the road - including a stripping scene for Dozier as coming-out metaphor - fall embarrassingly flat.
  10. House at the End of the Street
    Lawrence's natural, disarming screen presence is ill-suited to something as mannered and labored as House at the End of the Street, and at moments it's as if she freezes up, unable to simply throw on a scared-face for no good reason.
  11. Movie 43
    How many directors does it take to screw in a star-studded piece of aggressive stupidity and call it a movie? An even dozen, and there is no punch line.
  12. Gone
    Gone is also your hard-earned money if you buy a ticket to this slack piece of work, a movie that makes "Murder on the Orient Express" feel like "The Silence of the Lambs" by comparison.
  13. The Lone Ranger
    The Lone Ranger exists without a convincing sense of jeopardy or, more critically, any place for audiences to emotionally connect.
  14. A Love Affair of Sorts
    Though the title hints at a tale of infatuation, Levy sheds little light on interpersonal conflict or why we're such an addictively self-documenting modern society.
  15. R.I.P.D.
    The entire film has an oddly underdone quality to it, as if aiming not for greatness but to simply be passable.
  16. The Host
    The story goes slack onscreen, so much so that the movie's two-plus hours will seem an eternity.
  17. 11-11-11
    If only 11-11-11 had arrived a little closer to Thanksgiving - the turkey connection would have been entirely appropriate.
  18. The Big Wedding
    To be fair, there are moments that earn their laughs and nostalgic memories for the marriage that was and the relationship that is that are sweet. But like many big weddings — a lot of things go wrong and not much goes right.
  19. Bunraku
    No image or moment is grounded – every shot is augmented with restless animation, smart-ass narration or video game sounds. The artificiality of it all is smothering.
  20. Sarah Palin: You Betcha!
    The barbs feel stale at best, squandered at worst, and the ominous music that accompanies each sounds as if it has been lifted from the silent movie era.
  21. Brother's Justice
    Sure, this frequently improvised spoof isn't intended to be taken seriously, but it's also not funny or incisive enough to counter the unappealing persona the actor-comedian has concocted here: an impulsive, clueless narcissist on a journey to reinvent himself as an action star.
  22. A Kiss and a Promise
    A pair of detectives lingering on the periphery of the story help provide a twist at the end that is well-handled and carries an unexpected irony, but it is really too, too little coming far, far too late.
  23. The Catechism Cataclysm
    A grating and witless would-be spoof of religion, male-bonding and, it seems, horror movies.
  24. 5 Star Day
    Frankly, it's hard to imagine even George Clooney making such ill-used screen minutes interesting. But the movie around those moments is even worse.
  25. Angels Crest
    Depressing and airless.
  26. Beneath the Darkness
    Yet that deeply strange and agitated performance by Quaid is the only thing that makes the film remotely bearable.
  27. Pixels
    Some movies are so interminable that it seems they might never end, while others are assembled with such indifference that you are essentially left waiting for them to start. Pixels somehow manages both.
  28. Don't Go in the Woods
    An undercooked, "Glee"-like hybrid of grating indie pop songs and forest slasher flick.
  29. The Decoy Bride
    If you've seen most any rom-com you know where this one's headed. Unfortunately, under director Sheree Folkson's unsteady hand, getting there is more frustrating than fun.
  30. All's Well Ends Well
    All cartoon and no charm.
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