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. Stevie D
    The borrowed concept is all it has going for it, and at nearly two hours it stretches the conceit and the performers far beyond their range. It’s a minor effort overly indebted to its references.
  2. The Belko Experiment
    By the end of the film, you're left with the unshakable feeling that everyone involved, from actors to filmmakers to the audience, is, and should have been, better than material like this.
  3. Anonymous
    Director Akan Satayev’s hacker thriller looks gorgeous, featuring locations around the world shot with crisp cinematography by Pasha Patriki. However, the script from Sanzhar Sultan is poorly structured and silly, revealing the emptiness beneath the shiny facade.
  4. The War with Grandpa
    The “pranks” just aren’t funny. The whole premise isn’t funny.
  5. Confessions of a Womanizer
    Somehow, despite the sexist, foul-mouthed rancor, there are messages to be found about the false promises of toxic masculinity and learning to be the person you want to be without repeating the sins of your parents. Though it’s rough going to get there.
  6. Virtual Revolution
    Cinematic life...is in short supply in this ambitious but leaden cautionary tale, which tries to pep things up with energetic fight scenes in the avatar worlds, but can’t escape the wooden acting and zipless storytelling.
  7. Youth in Oregon
    Moore is primarily known as an actor but this is the third feature he’s directed, and he proves surprisingly unable to get layered performances out of some great actors.
  8. Lost in Florence
    A seemingly tourist-bureau-sanctioned travelogue posing as a romantic drama.
  9. A Bad Moms Christmas
    What's offensive about A Bad Moms Christmas (and “Bad Moms”) is just how shoddily made it is.
  10. Suntan
    The story might have had some thematic heft if we knew or cared anything about the characters. But all we can glean about the disastrous Kostis is that he’s had hard times, while Anna is a total cipher.
  11. Spark: A Space Tail
    “Spark” should earn points for originality, but it never invests in establishing its world or its characters in a way that engages viewers.
  12. The House
    While there’s no shortage of comedy talent on screen in The House, there’s a dire lack of actual laughs to be found in this strange shell of a movie.
  13. The Hitman's Bodyguard
    Uncertain whether to be a cheerfully weightless killing spree, an earnest odd-couple comedy or, most hilariously, a straight-faced Eastern European political thriller, Tom O’Connor’s screenplay falls back on shopworn snark and half-baked bromantic attitudes.
  14. Just Getting Started
    Even a cast with this many award wins and nominations can't salvage a script that will have viewers audibly sighing, rather than laughing.
  15. Pitchfork
    Director/co-writer Glenn Douglas Packard tries to bring a little style and color to the film by relying on off-kilter camera angles and cartoonish supporting characters. But he mostly stays within the narrow parameters of the “knocking off generically attractive youngsters one-by-one” movie, never getting campy enough, bizarre enough or satirical enough.
  16. Hickey
    A generic coming-of-age comedy that feels inextricably stuck in the ’90s, Hickey serves as the feature debut of TV commercial director Alex Grossman and plays like a never aired UPN series pilot.
  17. The Snare
    Writer-director C.A. Cooper’s The Snare is admirably artful and oblique in putting its own twist on the haunted-house story, but it’s derivative of much better psychological suspense films and is obnoxiously unpleasant to boot.
  18. 48 Hours to Live
    There’s more focus on the dull mystery and predictable story twists, and not nearly enough choreographic ecstasy on-screen.
  19. The Trouble with Terkel
    The Trouble With Terkel feels painfully outdated and stale, with rudimentary computer-generated visuals and characters that are potty-mouthed only for the sake of provocation.
  20. Bakery in Brooklyn
    Director Gustavo Ron and co-writer Francisco Zegers fill the movie to bursting with plot, turning what might have been a delightfully airy cream puff of a film into a soggy disaster.
  21. Doobious Sources
    While the fake news angle is admittedly a timely one, the film’s ultimate dubious achievement is its remarkable ability to make “Dude, Where’s My Car?” feel like vintage Kubrick.
  22. My Father Die
    My Father Die is all provocation and no substance, and therefore completely meaningless.
  23. Running Wild
    Just when you think the film has gratefully escaped its most inevitable turn, it goes there, adding one final kernel of corn to this ho-hum horse tale.
  24. Eloise
    With Eloise, Legato and company take a prime location, rich in history, and make it look like a soundstage.
  25. The Adventure Club
    The Adventure Club is a remarkably dull Canadian tween caper about a sought-after magical ancient box with wish-making powers.
  26. Fabricated City
    Writer-director Park Kwang-hyun certainly keeps the visual energy aloft with its frantic genre-splicing, but the over-the-top approach ultimately plays out like several years’ worth of Super Bowl commercials strung out end to end.
  27. Atomica
    Dagen Merrill’s thriller, made under the Syfy channel’s banner, is strictly cheap-TV genre fare that might have passed muster as an average episode of “The Outer Limits,” but over feature length simply feels slipshod and dull.
  28. Below Her Mouth
    With wooden performances and a lack of character development, Below Her Mouth is more X-rated, late-night cable skin flick than trenchant exploration of female sexuality.
  29. Take Me
    Healy is never able to find an absorbing middle ground in Mike Makowsky’s script, vacillating gratingly between shrill farce and murky thriller that flails its way toward an intended twist-ending that really shouldn’t surprise anyone.
  30. Voice from the Stone
    Howell’s inept pileup of would-be signifiers — a misty quarry, a family crypt, a philosophical beekeeper — gives way to frisson-free horror and unconvincing romance.
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