Los Angeles Times' Scores

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For 16,550 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: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. Geostorm
    When the long-promised global barrage of tornadoes, lightning strikes, tidal waves and extreme temperatures hits in the final half-hour, the special effects are stunning. But the razzle-dazzle arrives too late, and is strangely unmoving.
  2. Anna
    First-time Spanish director Jorge Dorado aims for Hitchcock and misses by a mile with Anna.
  3. Chapman
    The gratingly underdeveloped plot has all the dramatic effect of a toddler with her hands behind her back chirping, "Guess what I've got?" for more than an hour.
  4. Rage
    There's a late-breaking twist that might seem impressive if it didn't make all the previous mayhem feel so intensely pointless.
  5. The Song
    The melody may be as old as the Bible, but The Song could have benefited from a fresher voice.
  6. Point Break
    The newly released Point Break remake is tedious and overblown — as though the filmmakers were so preoccupied with "updating" the material that they forgot what made it so popular in the first place.
  7. Good People
    Good People goes from being simply pedestrian to outright preposterous without batting an eye.
  8. La Bare
    If La Bare had snarky voice-over narration, it could be a segment on "The Colbert Report."
  9. The Moment
    The Moment is a psychological thriller more muddled than the mind and the maze it is caught up in.
  10. The Odd Way Home
    The clichés alone doom the movie.
  11. The Big Ask
    Self-conscious, tonally uncertain and thematically vague, The Big Ask is a premise in search of a movie, one that co-directors Thomas Beatty and Rebecca Fishman never quite find.
  12. The Possession of Michael King
    Although this film doesn't miss the whole point of found footage as the recent "Into the Storm" did, Jung does little to help suspend our disbelief.
  13. Nothing Bad Can Happen
    The method to Von Trier's madness is that he provokes thought alongside outrage in his parables. Here, Gebbe musters only outrage, as her antagonists are without nuance, mercy or any redeeming quality.
  14. Affluenza
    The movie opens with the suggestion that it will address the generational divide, but it has nothing of substance to say.
  15. Ironclad: Battle for Blood
    The title's promise of violence is dutifully met in gory, sonically squishy close-quarter melees shot in Confuse-o-vision, as if the camera had been strapped to a whirring blender before the footage was edited with the puree button.
  16. The World Famous Kid Detective
    This flatly shot picture remains cramped by its homespun roots.
  17. Premature
    A rapidly wearying comedy that mistakes crudeness with humor.
  18. Radio Free Albemuth
    First-time writer-director John Alan Simon simply doesn't have a strong enough grip on the movie's narrative, pacing or performances to surmount the pitfalls of this ambitious, budget-conscious effort.
  19. The Girl on the Train
    Writer-director Larry Brand is all too eager to show off his cleverness. Bad dialogue and Cinemax aesthetics make all the clichés seem even more clichéd.
  20. Audrey
    The comedy unfolds mostly in real time, but its grasp of real human behavior is shaky.
  21. K Missing Kings
    Making sense was never a top priority for "K," and its sequel is just as much of a hot mess.
  22. Sinister 2
    Nothing about Sinister 2 comes close to the feel-bad ode to literally and figuratively dark interiors that distinguished the title-earning original.
  23. Rabindranath Tagore: The Poet of Eternity
    It's essentially a glorified PowerPoint presentation that juxtaposes archival footage — an echo chamber of interviews, readings and performances taken entirely out of context — with amateurish stock footage and a short running time.
  24. The Transporter Refueled
    Cheap silliness abounds, including car chases that are more about loud crashes and CGI than the thrill of speed.
  25. Reclaim
    Carmine Gaeta and Luke Davies' screenplay is constructed from plot mechanics, and the emotional stakes grow less convincing with every twist of the screw.
  26. 37: A Final Promise
    37: A Final Promise comes off as a paranormal and schizophrenic take on a Lifetime movie with themes of terminal illness and assisted suicide.
  27. Coldwater
    Too many roles remain underdeveloped — if developed at all. A lack of cohesion or camaraderie among the inmates compounds the film's impersonal vibe.
  28. Jake Squared
    Koteas and the rest of the cast (including Jane Seymour, Virginia Madsen and Jennifer Jason Leigh) struggle gamely with the material, but they're defeated by the nonstop chatter, Goldberg's flat-footed direction and the needlessly choppy cutting.
  29. Exists
    Like so many movie stars, Bigfoot has been sold out by movie opportunists, in this case as ho-hum fright bait in the aggressively unimaginative Exists.
  30. Men, Women & Children
    A few steps further and Reitman might have turned Men, Women & Children into parody — at least that might have made for some laughs.
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