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. Ultrasound
    The film’s overall tone is a bit dry, and the narrative lacks tension, aside from its central mystery. But the performances are strong, and the points the filmmakers are making about the slipperiness of memory do resonate.
  2. All My Friends Hate Me
    This movie is uncompromisingly discomfiting, meant to remind people of all those drunken nights where they overreacted to every well-intentioned joke, and woke up choking on the stench of burned bridges.
  3. The Adam Project
    The first half is the more intriguing as older and younger tussle with each other and ask the tough questions, figuring out their mission together. But it all falls apart in a hackneyed third act.
  4. Turning Red
    There’s something particularly pleasing about the harmony that Turning Red achieves between the lyricism of ancient Chinese legend and the synthetic creaminess of teeny-bopper pop.
  5. Huda's Salon
    Working with cinematographers Ehab Assal and Peter Flinckenberg, Abu-Assad continually boxes his female leads into tight corners, visually and dramatically. Nearly every scene takes the form of a single unbroken shot, a technique that sometimes pulls you in and sometimes merely calls attention to its own virtuosity.
  6. Fresh
    It doesn’t just offer up the most palatable aspects of horror as a genre; instead, it pushes it to its limits through a complete, and undoubtedly satisfying, reworking.
  7. Fabian: Going to the Dogs
    It takes some getting used to, and there are sequences more awkward in their motley-ness than pointed. But overall, it’s an effectively crashing intimacy created by the performances (especially the fizz and warmth Schilling and Rosendahl have together), Claudia Wolscht’s restless editing and Hanno Lentz’s camerawork.
  8. Dear Mr. Brody
    As with his 2016 documentary “Tower,” which recounted a 1966 mass shooting in Texas, director Maitland is most concerned with those whose stories get buried beneath the headlines.
  9. Lucy and Desi
    [An] absorbing, entertaining and lovingly crafted documentary.
  10. The Batman
    It’s a movie of alternately promising and frustrating half-measures, in which Reeves’ shrewd storytelling instincts and the usual franchise-filmmaking imperatives repeatedly fight to a draw.
  11. The Automat
    [A] lovely, deeply nostalgic tribute.
  12. The Burning Sea
    The film as a whole, though, never hits as hard as it should. The characters are too stock — generic enough that their personalities won’t distract from the looming apocalyptic trouble.
  13. No Exit
    Director Damien Power occasionally tilts the movie into horror territory, with some particularly grisly violence that might shock viewers who think they know where it’s going.
  14. Cyrano
    Cyrano slips in and out of that realm fitfully; it’s not always the most graceful retelling of this oft-told tale, and its ardent defense of love for love’s sake can feel paper-thin one moment and swooningly sincere the next. What gives the movie its sustaining pulse is Dinklage.
  15. Studio 666
    The jokes are stale, the energy is stilted, and the whole thing feels like a misbegotten vanity exercise cooked up in the pandemic to keep them occupied.
  16. Downfall: The Case Against Boeing
    There are plenty of disturbing revelations, but it’s the totality of Boeing’s self-sabotaging, money-grubbing descent — starting with a post-merger change in leadership in the 1990s — that brings home how irresponsible corporate stewardship is a global harm worth correcting.
  17. Texas Chainsaw Massacre
    The 1974 film was a nightmare that felt too close to reality, but this is merely unpleasant — and not in a good way.
  18. The Cursed
    This period piece is slow-paced yet peppered with enough gory attacks and smartly staged scare sequences to appeal to horror connoisseurs.
  19. The Unmaking of A College
    While The Unmaking of a College stands as an important document of Hampshire history, it lacks the practical skills and vision needed to allure outside audiences.
  20. A Banquet
    Muted and ambiguous — sometimes to a fault — “A Banquet” is well acted and well crafted and should resonate with viewers who have had experiences similar to those of the movie’s perpetually anxious mother.
  21. Playground
    No one in this movie has a complete understanding of what’s going on, but Wandel proves that a sensitive enough camera can provide a fuller picture than most.
  22. Strawberry Mansion
    Strawberry Mansion is one of the most unique American independent films to open its doors in recent memory. Only time will tell if it can attain the cult status that its charming idiosyncrasy most definitely merits.
  23. Ted K
    A little of Ted Kaczynski can go a long way — especially at two hours — even as one’s appreciation for Copley’s intensity and cinematographer Nathan Corbin’s artful shotmaking never wanes. But in the well-trod realm of forensic examinations of the notorious, Stone’s considered hike into the life and times of a very American-made extremist does have undeniable power.
  24. The Pact
    Deftly mounted, shot and scored, The Pact is a master class in ensemble acting, led by Neumann in a visceral, deeply layered and knife‘s-edge turn.
  25. Uncharted
    Uncharted is fine, and entertaining enough, but while some moments are inspired, others are completely inert. It’s oddly neutered and bloodless, the stakes negligible. It feels like a project with so much potential that never fully achieves liftoff, stumbling when it should soar.
  26. Catch the Fair One
    That “Catch the Fair One” can’t imagine more for its characters, for the world it shapes, is its most glaring fault, and one that will likely leave many taking a deep breath as the credits roll.
  27. Brighton 4th
    Preferring to maintain his focus on the tender relationship between father and son, as well as the gently amusing camaraderie that exists among groups of males in both countries, Koguashvili challenges conventional notions of masculinity to often delightful effect.
  28. Indemnity
    This is a B-movie with the pretensions of a prestige drama; and frankly, the less ambitious version would’ve likely been better.
  29. Blacklight
    The kind of low-wattage, paint-by-numbers thriller that usually signifies a perilous turn toward the action purgatory that is cheap, direct-to-nowhere fare.
  30. The Sky Is Everywhere
    While undoubtedly a uniquely creative and singularly emotive film, it can be all just a little too, too much.
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