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. 400 Days
    The sci-fi drama 400 Days ultimately disintegrates upon impact because of a lazy payoff.
  2. The Huntsman: Winter's War
    A convoluted narrative yields not a single, palpable moment of drama.
    • tbd Metascore
    • 30 Critic Score
    Cold Deck
    Although viewers have been dealt this sort of hand countless times before, director Zack Bernbaum lays it all down with little discernible style or dramatic heft, signaling the plot's obligatory turned tables and double crosses well ahead of their appearance.
  4. We Are Many
    Since the rally ultimately proved ineffectual, the film could at the least serve as a sobering postmortem on where it fell short. But filmmaker Amir Amirani instead gives protesters a figurative pat on the back by insinuating that they helped inspire the Egyptian revolution some eight years later.
  5. Synchronicity
    After an hour or so of bad noir dialogue and convoluted plotting, viewers may wish they could jump back in time and watch something else.
  6. Mojin: The Lost Legend
    Embracing the worst of Hollywood excess, director Wuershan crams in enough CG effects to fill a dozen Jerry Bruckheimer/Michael Bay features, but the uninspired payoff quickly grows tiresome.
  7. Misconduct
    To say everyone plays like they're in separate movies is an understatement.
  8. The Abandoned
    Streak and Cooper are meagerly drawn characters, first-draft dialogue abounds, and the story proves more tedious and head-scratching as it goes.
  9. Yoga Hosers
    There’s enough weirdness for Yoga Hosers to possibly generate some stoner cult appeal, but it’s shoddily slapped together, with a clearly first-draft script, terrible editing (by Smith the elder) and continuity errors.
  10. All Roads Lead to Rome
    The tone is wildly inconsistent, particularly with plucky, lighthearted music accompaniment scoring what is essentially a teen crime spree.
  11. Southbound
    For all its gore and violence, stabs at tension and nightmarish intrigue, the film proves a slow-going, largely unsatisfying ride.
  12. Standoff
    Unfortunately in the hands of writer-director Adam Alecca, this overly talky, slackly executed game of cat-and-mouse comes off as cheesy rather than chilling.
  13. Backgammon
    The film's musings on artists and muses tries to be deep but gets bogged down in tiresome booze-soaked mind games.
  14. Camino
    Bell proves to be one tough cookie, but she's ultimately taken down by all the stiff, under-developed dialogue and iffy supporting performances.
  15. Collateral Beauty
    This movie doesn’t rise to the level of so-bad-it’s-good. But no less impressively, perhaps, it’s just bad enough that you actually wish it were worse.
  16. The Dead Room
    Minimalist to a fault, this psychological horror exercise is fairly tedious, distinguished only by the moody lighting and the slow, fluid pans and dollies.
  17. Sacrifice
    That the film looks good matters little when director Peter A. Dowling’s script, based on the novel by Sharon Bolton, is filled with so many thinly drawn characters, blunt warning signs and telegraphed plot points.
  18. The Cloverfield Paradox
    Narrative incompetence is one of the more venial sins of big-budget filmmaking, but there is something particularly ugly and cynical about the sloppiness of The Cloverfield Paradox, as if its status as a franchise stepping stone excused its blithe contempt for the audience's satisfaction.
  19. They're Watching
    The movie doesn't do justice to a promising premise. A scarcity of laughs and scares limits this property's curb appeal.
  20. The Dog Wedding
    The Dog Wedding is rather a minor effort, and the amateurish acting of the supporting cast and stilted energy are hard to forgive.
  21. Ktown Cowboys
    The film persistently misses the mark as a raunchy comedy amid all the side commentaries and Park's earnest tone. Yet it's equally clumsy at making sense of its portrayals of the indignities that Asian Americans routinely endure.
  22. Papa: Hemingway in Cuba
    The film manages to be exceedingly dull, perhaps because it's too enamored of its own design, concept and location to bother with a captivating story.
  23. No Letting Go
    No Letting Go has all the subtlety of an after-school special, and the performances feel like they're from a public service announcement about mental illness.
  24. The Curse of Sleeping Beauty
    The Curse of Sleeping Beauty is a hard-working but dreary horror-thriller inspired by the classic Grimm’s fairy tale.
  25. Rescue Dogs
    There just aren't enough rescue dogs in the world to save "Rescue Dogs," a shrill, yappy live-action comedy that proves considerably more annoying than adorable.
  26. Someone Else
    Those taking in Someone Else, an unconvincing, nonlinear drama about a pair of dramatically different Korean American cousins who are attracted to the same woman, will soon likely be wishing they had chosen to watch something else.
  27. High Strung
    In the end, you'll either succumb to the silliness of it all and cheer Johnny B. on to his green card or, more likely, be in desperate need of your own exit visa.
  28. The Syndrome
    Unfortunately, The Syndrome fails to adequately elucidate the many nuances of this complicated subject.
  29. Pelé: Birth of a Legend
    The childhood years of Brazil’s national treasure have been given a lamentably pedestrian big-screen treatment by Pelé: Birth of a Legend.
  30. ma ma
    The model here may be the florid, female-centered movies of Douglas Sirk, but the effect is as poetic and inspiring as a waiting-room pamphlet.
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