Los Angeles Times' Scores

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For 16,523 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 16523
  2. Mixed: 5,808 out of 16523
  3. Negative: 2,017 out of 16523
16523 movie reviews
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  1. Vengeance: A Love Story
    Any hope of prestige is dashed by the heavy-handed, cliché-ridden direction of former stuntman Johnny Martin and his star’s detached portrayal of a guy whose mind is permanently elsewhere.
  2. Literally, Right Before Aaron
    The audience will likely spend most of the film squirming and grimacing in recognition at Aaron’s awfulness — especially when the film rewards him with an ending that is far kinder than the character deserves.
  3. Deep
    Scrape away the soggy one-liners, generic CGI and cheesy musical numbers and what remains has all the briny allure of reheated fry oil.
  4. The Houses October Built 2
    These vignettes are only sporadically entertaining, and sap a lot of the narrative momentum before the extended climax — which itself is largely a retread of the first film’s big finish.
  5. Crash Pad
    A plucky ensemble fails to elevate Crash Pad, a forced, formulaic revenge comedy about an obnoxious slacker whose new housemate turns out to be the husband of his older ex-mistress.
  6. 1 Buck
    Dufils vividly captures the locale’s seedy, swampy vibe, with its dive bars, shabby homes, ubiquitous convenience stores and underground fight spots. If only there were a more compelling, engaging narrative to match.
  7. Submergence
    While Vikander and McAvoy are two undeniably photogenic actors who also radiate considerable intelligence, their best efforts are lost in the claustrophobic environment.
  8. Nightworld
    London is adequate (if not exactly magnetic) as the lead, and director Patricio Valladares gives the film a rich, shadowy look that almost compensates for the turgid pace and distractingly incessant score.
  9. The Show
    The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.
  10. Infinity Chamber
    Infinity Chamber (renamed from the original “Somnio”) may accurately convey the oppressive perpetuity of its title, but all that repetition in the absence of more inspired plotting results in a payoff that feels inescapably contrived.
  11. Daisy Winters
    The script blunts its own emotional impact with coincidences, odd choices and an ending that feels too neat, even for an inspirational film of this nature.
  12. Don't Sleep
    Even with a solid cast at his disposal, Bieber can’t make Don’t Sleep anything more than a disconnected compendium of time-tested shock tactics.
  13. Different Flowers
    First-time feature writer-director Morgan Dameron attempts to craft a love letter to her native heartland and to sisterhood, but falls short on both fronts, rarely digging beneath the surface of small-town bonhomie and what makes Millie and Emma tick.
  14. 30-Love
    It ends on a rather strange and unsettling note. Framed in a different context, this story could almost be a horror film.
  15. Trafficked
    Movies can warp any urgent issue into disposable melodrama, and what’s cringe-worthy about Trafficked, directed by Will Wallace, is how unnecessarily eroticized it is, like something from the made-for-video bin in a ’90s-era Blockbuster.
  16. Cold Moon
    There’s little fun to be had for the audience other than in some nicely executed special effects.
  17. The Crucifixion
    A lifeless demonic possession drama.
  18. Demons
    Doleac’s forging a niche. His name on a picture is now an indication that genre fans will see something different … though it’s not yet a mark of quality.
  19. Born American
    The movie is Rambo crossed with Fraternity Vacation and a bad cartoon version of One Day in the Life of Ivan Denisovich. It's an amazingly senseless movie, done with blood-curdling confidence. Each jaw-dropping howler is staged with such rattling intensity and perfect, seamless idiocy that it becomes weirdly amusing.
  20. The Man from Earth: Holocene
    There’s no shortage of areas to explore in philosophy, science and religion, but The Man From Earth: Holocene would rather spend its time with unlikable characters than deal with complex concepts.
  21. Hangman
    With a dirge-like pace that provides ample opportunity to figure it all out well ahead of the protagonists, you keep wishing somebody would buy a vowel to hurry things along.
  22. Permanent
    Whatever affection the filmmaker might have for her characters, she does her actors no favors, leaving newcomers as well as seasoned talents flailing.
  23. Oleanna
    David Mamet's Oleanna, adapted from his two-character play, is about sexual harassment, but it's the audience for this movie that gets harassed. Mamet must mean for this movie to be as enjoyable as fingernails scraping a blackboard. For both men and women, watching it is intended as an act of penance for all our sexist, elitist, feminist, patriarchal ills.
  24. Gangster Land
    The movie isn’t trying to understand Chicago in the Capone era. It just uses those names and stories as a backdrop for a lot of shooting, swearing and bad accents.
  25. Bad Grandmas
    While Mrs. Brady gets to cut loose, the weakly written supporting characters aren't as lucky, given precious little to say and even less to do other than attempt to hold their own in the face of pacing that's slower'n molasses.
  26. Amanda & Jack Go Glamping
    As unpleasant and inert as its protagonist, "Amanda & Jack Go Glamping" is a romantic comedy that lacks both love and laughs — and likable characters.
  27. Desolation
    Movies like these — so well-intentioned, so unexciting — give the very notion of “a brainy thriller” a bad rep.
  28. Casper
    Director Brad Silberling and screenwriters Sherri Stoner and Deanna Oliver can't figure out how to play a lot of this material. They pour on the sentiment and then they pour on the dopiness. The ghosts in this movie aren't the only ones who lack resolution. So do the filmmakers.
  29. Oasis
    Ameer may be aiming for a profound look at self-hatred, denial or the perils of the gay closet, but his story and characters are too superficially etched to make an impact.
  30. Abe & Phil's Last Poker Game
    Tripping over soapy subplots and maudlin conventions, it loses its footing just as Abe regains his mojo.
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