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. Kidnap
    For all of Berry’s breathless, screechy effort, Kidnap doesn’t contain any suspense or tension.
  2. The Great Wall
    If ever a film was made with more money than sense, this is it.
  3. 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.
  4. 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.
  5. Americons
    Director Theo Avgerinos seems preoccupied with making the film look expensive, but no amount of flair could make it less vacuous.
  6. 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.
  7. 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.
  8. 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.
  9. Rings
    At no point does the movie manage even a single sequence of sustained tension, or a frisson of genuine terror.
  10. 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.
  11. Home Sweet Hell
    A muddle of tired themes, bad behaviors and gruesome set pieces.
  12. Beyond the Reach
    Beyond the Reach is a grueling, unsatisfying thriller that fails the logic test in spectacular ways.
  13. 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.
  14. Cut!
    Rountree and Banks have come up with a nonsensical and pointless genre exercise.
  15. 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.
  16. 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.
  17. The Boy
    If only writer Stacey Menear and director William Brent Bell took the very real horrors of domestic abuse as seriously as they do the virtual horror of paranormal activity.
  18. Ghoul
    Ghoul can't decide whether it should be about cannibals, serial killers, ghosts or demons.
  19. Helicopter Mom
    Get past the wince-inducing premise of Helicopter Mom...and you're still stuck with a forced comedy that mines uneasy humor from stale stereotypes.
  20. See You in Valhalla
    It all feels forced and fabricated.
  21. Monsters: Dark Continent
    Whereas the original "Monsters" was a road movie about an odd couple fleeing an alien-infested zone, "Dark Continent" cribs from contemporary war movies like "The Hurt Locker" and "American Sniper," then tosses in extraterrestrials as an afterthought.
  22. 3 Holes and a Smoking Gun
    Director Hilarion Banks dutifully captures all of it in a series of nicely shot extended takes, which would have been fine if the cast had been able to interact in some sort of uniform tone.
  23. Shut In
    Despite a strong effort from Naomi Watts, Shut In is more effective as a 90-minute commercial for the L.L. Bean aesthetic than as a pseudo-psychological thriller.
  24. The Living
    What could have been a taut and tense thriller is ankled by the inert characters, clunky screenplay and nonexistent back story.
  25. Candlestick
    Despite Presswell's evident enthusiasm, the tediously talky, dramatically stilted results offer conclusive evidence that mastering suspense requires artistic skill beyond sampling the Master of Suspense.
  26. The Hand That Feeds
    Unfortunately, directors Rachel Lears and Robin Blotnick have squandered a worthy subject.
  27. Reality
    The bizarro plot threads, and dippy characters fail to connect in any rewarding way, resulting in a largely unfunny film that proves as repetitive and tedious as the 1971 Philip Glass snippet that provides its entire score.
  28. Survivor
    Amid the choppy action and whirl of sketchy characters lie muddled messages about revenge, greed, war, hubris and the endless ripple effects of 9/11.
  29. Superfast!
    While fans can appreciate all the winks and nudges, the film is a wreck for the uninitiated.
  30. Bravetown
    First-time director Daniel Duran, working from a screenplay by Oscar Torres that abounds in the maudlin and risible, isn't able to lift the ham-handed material to a place where it might ring true.
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