Los Angeles Times' Scores

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For 16,533 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: 8,703 out of 16533
  2. Mixed: 5,813 out of 16533
  3. Negative: 2,017 out of 16533
16533 movie reviews
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  1. Blood Ransom
    Dela Torre tinkers with some of the undead's best-known traits, yet his reinvented wheel still feels like a retread.
  2. The Aviation Cocktail
    There are rich veins to mine here had writer-director David R. Higgins bothered.
  3. Beside Still Waters
    Lowell, a sitcom actor ("Enlisted") and photographer, lards his "The Big Chill" ripoff with plenty of arty touches... He assumes this will lend the needed heft to paper-thin characters, witless exchanges and emotional recriminations you can see coming a mile away.
  4. We Are the Giant
    Barker just hammers home the human-interest angle with a stirring score that serves to instruct the appropriate emotional response to each scene. The tacked-on uplift in the end is beyond comprehension, given that some of its subjects remain in peril.
  5. Murder of a Cat
    A plodding comic caper that fails to deliver.
  6. Poker Night
    Francis has a few moments of inspiration, nonchalantly deploying visual gags. If he were going for cult status, perhaps gonzo is the way to go. The rest of his stylistic flaunts, plot twists and contrivances are joyless.
  7. Unfinished Business
    A sluggishly paced collection of go-nowhere sight gags, flat-footed set pieces and incoherent business chatter that offers few laughs and little real payoff.
  8. Me
    The comedy isn’t so much sharply observed as it is obvious and obnoxious.
  9. The Key
    The arty visual effects, backed by a soundtrack of ambient noise, may recall the experimental work of early practitioners such Stan Brakhage and Kenneth Anger, but the ponderous, headache-inducing results do the story and the actors no favors.
  10. Inside the Mind of Leonardo
    Though billed as a 3-D experience, Leonardo is flat in more ways than one.
  11. Strange Magic
    The look of the animation has limited charm. The story is primarily a string of life lessons for little ones, impossible to miss. And there is a great deal of singing. I don't think even fools will fall in love with Strange Magic.
  12. Little Boy
    It's all simplistic sermonizing in director and co-writer Alejandro Monteverde's hands, devoid of any thoughtful messiness about wartime mind-sets or family despair, and quick to sand any edges with postcard-pretty coastal town vistas and cutesy music cues.
  13. Everly
    Feels precision-engineered for a morally torn fanboy who likes the idea of female empowerment but needs it served with a heavy dose of torture porn and glistening flesh.
  14. The Visit
    Shyamalan's script puts down reality shows, but this shocker works on the level of a game show, compelling audiences to yell out advice for Becca and Tyler as they steer through one trouble spot after another. This writer-director depends on hoary provocations.
  15. Kidnap
    For all of Berry’s breathless, screechy effort, Kidnap doesn’t contain any suspense or tension.
  16. The Great Wall
    If ever a film was made with more money than sense, this is it.
  17. Black November
    There's little going on in the final product other than good intentions, as Jeta Amata always seems overreaching for the right buttons to push.
  18. Kill Me Three Times
    The neo-noir crime comedy Kill Me Three Times works overtime to seem unique and clever. The result, however, is a derivative, gimmicky, at times dizzying puzzle that fails to engage.
  19. Americons
    Director Theo Avgerinos seems preoccupied with making the film look expensive, but no amount of flair could make it less vacuous.
  20. The Principle
    One just wishes that the filmmakers had made this a more open debate on religion versus science instead of a documentary that too often feels manipulatively Machiavellian in its presentation of all those "irrefutable" facts and findings.
  21. Out of the Dark
    A movie lovely to look at but on-the-nose and crushingly dull, a pair of qualities a ghost yarn can't live on.
  22. The Boss Baby
    Mistaking cliché for comic insight, and lacking the kind of conceptual rigor that a Pixar intern could probably muster, the script falls back repeatedly on the kinds of assumptions about human behavior that are meant to be cute and relatable to grown-ups and kids alike, but which instead offer an unflattering glimpse into the movie’s lazy, cynical soul.
  23. Rings
    At no point does the movie manage even a single sequence of sustained tension, or a frisson of genuine terror.
  24. Knock Knock
    Roth, who is no Michael Haneke (or even Adrian Lyne), seems unconcerned with creating genuine tension or digging into an allegory of moral consequence.
  25. Home Sweet Hell
    A muddle of tired themes, bad behaviors and gruesome set pieces.
  26. Beyond the Reach
    Beyond the Reach is a grueling, unsatisfying thriller that fails the logic test in spectacular ways.
  27. The Lovers
    There's a veil of artifice clinging to every aspect of The Lovers, a thoroughly unconvincing time-traveling epic costume drama pairing a miscast Josh Hartnett and Bollywood beauty Bipasha Basu.
  28. Cut!
    Rountree and Banks have come up with a nonsensical and pointless genre exercise.
  29. The Business of Disease
    The Business of Disease seeks to cast suspicion on Big Pharma, but it proves to be a glorified PowerPoint presentation interspersed with commentary by people of questionable qualifications who aim to incite paranoia with propaganda, conspiracy theories and straw-man arguments.
  30. Nightlight
    Filmmakers Scott Beck and Bryan Woods water down the element of surprise, even if they get the found footage shtick down to a science.
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