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. The Marsh King's Daughter
    When we need the churning dread of an intimate tale of generational trauma, The Marsh King’s Daughter goes formulaic, and when we’re primed for exploitation sweats, it gets flabby.
  2. Next Goal Wins
    The overall flavor profile indicates that Waititi, whose own cartoonish appearance as a priest feels like an afterthought, has become bored with his signature brand of goofy uplift. Going by the unfunny self-referential gags (“The Karate Kid,” “The Matrix,” “Taken”), you’d swear the Oscar-winning filmmaker was struggling with the impulse to go full parody.
  3. Horizon: An American Saga - Chapter 1
    What unfolds on screen over the course of three hours and one minute in Horizon: An American Saga — Chapter 1 can only be described as a massive boondoggle, a misguided and excruciatingly tedious cinematic experience. That Costner has promised three more installments feels like a threat.
  4. It's a Wonderful Knife
    Try as it does to mash slasher and Christmas picture together into some kind of a yuletide “Scream,” “It’s a Wonderful Knife” so badly miscalculates both genres that you count down the minutes, wishing for a guardian angel to save its likable young stars from the movie they’re stuck in.
  5. Love Hurts
    Love Hurts is an action-romance that fizzles like a science-class volcano made of baking soda and cheese. The individual ingredients are fine: two killers on the run from punishment and their personal feelings for each other, played by Oscar winners Ke Huy Quan and Ariana DeBose. But their chemistry is all wrong.
  6. It's Pat: The Movie
    The whole question of sex blurring deserves an infinitely better film than “It’s Pat.”
  7. Fandango
    Fandango overreaches badly and sinks under a heavy weight of symbolism, bathos and sheer preposterousness that no amount of humor and incident can redeem.
  8. Fluke
    Maybe if "Fluke," which might have been better as an animated feature, weren't such a lavish, big-deal production and closer to the modest level of the recent -- and pleasant little -- pig movie "Gordy," it wouldn't seem so overwhelmingly, at times even laughably, foolish. [02 Jun 1995, p.F6]
    • Los Angeles Times
  9. Here
    The story of Here surrounding Richard and Margaret is relatable, entirely predictable and utterly dull.
  10. Shelby Oaks
    Stuckmann grabbing aimlessly in the last third for the kind of sickly visual elegance that is Flanagan’s deliberative style. But it only ever feels like homage, not anything organic — Stuckmann doesn’t have his mentor’s storytelling smarts, nor his flair for the underpinnings of normality that ground horror.
  11. Jurassic World Rebirth
    Jurassic World Rebirth is a straight monster movie with zero awe or prestige. It’s incurious about its stomping creatures and barely invested in the humans either, tasking Johansson and most of the cast to play fairly similar shades of hardy and determined.
  12. Wolf Man
    Wolf Man is a boring body-horror endurance test that mostly takes place in one home from sundown to sunrise. There’s so much interior creaking and panting, and so little dialogue or plot, that if you closed your eyes, the projectionist could have swapped reels with a different genre of doggy style.
  13. Bonhoeffer: Pastor. Spy. Assassin.
    Every awkwardly declarative, stagy scene in “Bonhoeffer” is just a right-against-wrong equation to be answered by the title character’s virtue.
  14. King Lear
    Jean-Luc Godard’s “King Lear” is his most off-putting picture since his unwatchable political films of the ‘70s.
    • 34 Metascore
    • 30 Critic Score
    Never Too Young to Die
    It’s the kind of movie where everyone involved should be thoroughly ashamed--but director Gil Bettman throws in so many snazzy shots, and the editors jack up the pace enough, that you’re often compelled to watch it despite yourself.
  16. 18 Again!
    As directed with the heaviest of hands by newcomer Paul Flaherty from an impoverished screenplay by debuting feature writers Josh Goldstein and Jonathan Prince, it’s not likely to make fans of either 18- or 81-year-olds.
  17. Animal Farm
    What’s left is a visually unappetizing Animal Farm that plays as if someone sloppily traced over a masterpiece. And Serkis (who also voices a rooster) doesn’t so much direct it as twist some grand knob with settings like “Louder,” “Faster,” “Jokier,” “Bigger.”
  18. North
    The problem overall is not so much that the humor, especially in the parent-tryout situations, is forced, but that it simply is not there at all. So little is going on in this mildest of fantasies that it is hard to even guess what kinds of emotional effects were aimed at in the first place.
  19. Ballad of a Small Player
    It’s an overload of overkill, yet as tedious and empty as the last day of a 72-hour trip to Vegas when the novelty has worn off and you just want to go home and sleep.
  20. The Carpenter's Son
    With its flat location visuals, B-movie gore (snakes pulled from mouths) and colorless score, The Carpenter’s Son is the uninspired origin story you never prayed for.
  21. Scream 7
    From abandoned panic rooms to flubbed Ghostface executions, the characters make so many dumb choices that eventually we’re convinced that Williamson is frustrating us by design. Maybe in the boldest meta twist of all, the inventor of "Scream” wants to kill it off himself.
  22. Antichrist
    Female sexuality has evolved into pure evil here with Von Trier looking ever so much like the Marquis de Sade of filmmaking.
  23. The Singing Forest
    Awkwardly staged and edited and fitted out with an overly intrusive score drawn primarily from classical music, the film consistently subverts the earnest efforts of its cast.
  24. All About Steve
    A dippy clunker like All About Steve has no purpose other than as a challenge: If you laden a usually charming A-lister with a thoroughly off-putting, unhinged character, can she claw her way to likability? The short answer is no. The long answer is, what in the world was Bullock, who also produced the movie, thinking?
  25. Son of the Mask
    It's astonishing how dull a movie that packs so much visual overstimulation into its frames can be.
  26. King's Ransom
    Lifeless and laughless.
  27. Modigliani
    Deeply silly and tendentious.
  28. The Dukes of Hazzard
    With no plot, character or dialogue worth experiencing, let alone remembering, the film merely occupies space on the screen and hopes for the best.
  29. Matando Cabos
    A grimly unfunny and stupefyingly inept comedy.
  30. A Sound of Thunder
    The picture looks as murky as its story line, the sound is tinny, much of the dialogue is flat or confoundingly technical or merely risible, and most everything on the screen looks patently fake.
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