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. Vampire
    After the quiet, dread-filled punch of the first half-hour — when it seems vampire culture is going to get turned on its head — Iwai's character study mostly descends into a pretentious slog.
  2. Hello Herman
    We're not sure what director Michelle Danner, who plays Herman's defensive mother in an uncredited role, wants us to get besides a reminder that angry boys act out for a host of half-defined reasons.
  3. Ready to Wear (Prêt-à-Porter)
    Not clever or polished enough to be successful as farce, unwilling to supply any reason to care about any of its characters, unable to make the points about the role of fashion in society it thinks it is, "Ready to Wear" is madness without the usual Altman method.
  4. The Frozen Ground
    Although writer-director Scott Walker seems committed to not overly exploiting his lurid subject matter, the movie is just too dreary, disjointed and generically creepy to be persuasive.
  5. Between Us
    The performers fully commit to their unlikable parts but, at least as written, even the best actors couldn't create compelling, relatable characters out of this messed-up bunch.
  6. Stepping High
    Stepping High is both a trifle and an impassioned argument that dance is a direct route to character, ethics and world peace.
  7. The Secret Disco Revolution
    The movie feels like a flakey, off-the-cuff blog post that somehow transmogrified itself into a feature-length documentary.
  8. Just Like a Woman
    All that's missing from Just Like a Woman, Rachid Bouchareb's salute to "Thelma & Louise," is the quality.
  9. L.A. Superheroes
    Spotty acting, flashes of crass dialogue, some questionable camera work and awkward storytelling — including a surfeit of phone conversations — further sink this well-meaning effort.
  10. Terminator Genisys
    Terminator Genisys could be Exhibit A in why the current line of thinking in Hollywood regarding sequels/reboots/remakes often leads to terrible decisions and worse films.
  11. The Canyons
    The Canyons is a bad accident everyone saw coming, and now it is here.
  12. The Time Being
    Not to be glib, but sitting through the art-centric chamber piece The Time Being is truly like watching paint dry.
  13. Tiny Times 1.0
    Is it good? No. Is it fun? A little. Is there a makeover montage? Of course.
  14. Scenic Route
    While the narrative spins in place, Kyle Killen's script throws out one uninspired gambit after another to extend the film to feature length, eventually climaxing with dual endings, both contrived.
  15. Winnie Mandela
    Like many a biopic before it, Winnie Mandela shoehorns an exceptional life into the standard template of a highlights reel, lurching from one Important Moment to the next.
  16. Standing Up
    It's unclear who this blandly titled drama is aimed at — devoid as it is of humor or any real hazard and lacking the provocative undertones of its source material.
  17. C.O.G.
    For Sedaris fans, C.O.G. is a regrettably patronizing washout.
  18. The United States of Football
    A structural, chronological mess of information and emotion, so chaotically shot and edited to move from stat to image to sound bite that it suffers from its own concentration issues.
  19. 36 Saints
    The bloodletting is blandly demure and the identity of the malefactor telegraphed too early.
  20. American Milkshake
    The script is short on details and insight, and when asked to comment on this condition — or the script's sketch of a culture on the cusp of the Internet revolution — the film, like its dirtbag protagonist, just shrugs.
  21. Ass Backwards
    The scenarios in Ass Backwards, which director Chris Nelson contributed to by filming in focus, feel arbitrary rather than organic, as if the creators' list of humor targets — lesbian bikers, trailer trash, drug-addicted reality TV stars, pageant world denizens — were picked out of a hat.
  22. McCanick
    Familiar paternal regret gets ratcheted up here with an illogical and gratuitous investigative exercise.
  23. Chavez: Cage of Glory
    Good intentions go just so far when a movie is hobbled by such risible, place holder dialogue, contrived plot points, wildly uneven performances and awkward camera work.
  24. A Strange Brand of Happy
    Any one-man crusade is likely to fail, but a rom-com character's war against sincerity is doomed from the start.
  25. The Green Inferno
    The film is measured and executed effectively to satiate horror fans' bloodlust, yet its underlying messages are just so repugnant.
  26. I Spit on Your Grave 2
    There are glimmers of thoughtfulness here in the initial characterization of Katie and in her long, slow recovery before she can exact her revenge, but they're ultimately snuffed out by this mound of toxic trash.
  27. Addicted
    Addicted doesn’t know whether it wants to be a modern-day bodice-ripper, a morality-tinged cautionary tale or a serious snapshot of sexual compulsion. Whatever the case, it fails on all fronts.
  28. Cleaver's Destiny
    Cleaver's Destiny" is an earnest but ultimately amateur production on all fronts that misses an opportunity to deal seriously with topics writer-director-star Karl Lentini obviously cares about.
  29. Tyler Perry's A Madea Christmas
    Perry can now knock these films out in his sleep, and with “Madea Christmas” he certainly seems to be dozing at the wheel.
  30. CBGB
    In its stylistically flailing stab at authenticity, CBGB ends up merely a mess of caricatures.
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