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. St. Agatha
    Kern and Hennessy are always incredibly entertaining, going toe-to-toe, as Mary defies the convent’s rules and a smiling Mother Superior makes her pay.
  2. The Man Who Killed Hitler and Then The Bigfoot
    Krzykowski’s pacing and tone is off as he tries to meld his comic book instincts – visually atmospheric if susceptible to arch cheesiness — with the requirements of a small-scale drama.
  3. One Million American Dreams
    One Million American Dreams lacks a cohesive structure, but it is bound together by the tears and grief of the people left behind.
  4. Under the Eiffel Tower
    The film is light and follows a distinct formula, but Walsh is incredibly charming, and shares a potent chemistry with Godrèche.
  5. Cold Pursuit
    The body count goes up, but our interest level doesn’t rise with it.
  6. Untogether
    The Kirkes are attractive and intriguing actresses, Mendelsohn again proves one of the best screen actors around and Dornan looks great in scrubs. But it’s hard be sure exactly what Forrest is trying to say here and the film isn’t compelling or appealing enough to sufficiently care.
  7. High Flying Bird
    What makes High Flying Bird so welcome and unexpected is its combination of immediacy and drama, its provocative creation of here and now energy and smart dialogue around the unlikely subject of professional sports in general and pro basketball in particular.
  8. What Men Want
    Henson is a gifted actress and physical comedian. She manages to hold together What Men Want with the sheer force of her powerful charisma, but the film around her is harried, messy and woefully underwritten.
  9. The Wild Pear Tree
    The movie is undeniably long, talky and dense, but it is never uninteresting. You might call it slow too, though at the risk of mischaracterizing the speed of its verbiage and the dizzying complexity of its ideas.
  10. Berlin, I Love You
    For every poignant keeper...there’s a clunker.
  11. The Prodigy
    It could have been smarter without sacrificing pacing or chills. That’s not a dealbreaker — target audiences will likely be satisfied by its many pluses — but the film is good enough that you wish it went all the way.
  12. The LEGO Movie 2: The Second Part
    The puns and one-liners are jauntily amusing, the gags clever and well-timed. The tone is a familiar, infectious blend of sincerity and snark — or, if you will, earnestness and cynicism, which might as well be Emmet’s and Wyldstyle’s respective nicknames.
  13. The Souvenir
    If The Souvenir seems to move assuredly to its own unconventional rhythms, it’s because Hogg isn’t telling a straightforward story; she’s showing us, piecemeal, how an artist’s sensibility comes into being.
  14. The Report
    The Report parcels out its intel efficiently enough, though it creaks a bit more than it crackles.
  15. The Last Black Man in San Francisco
    A patchwork of impressions, ruminations and unsolved mysteries, The Last Black Man in San Francisco teems and even overflows with life and love, some might argue at the cost of narrative focus or momentum. That strikes me as precisely the point.
  16. The Farewell
    With exquisite poise, wry humor and delicate swells of feeling, The Farewell addresses and gently critiques the stoicism that Asians and Asian Americans are often taught to project as a matter of pride and dignity.
  17. Clemency
    It’s a sterling piece of American realism, powered by the transfixing spectacle of a great actor at the peak of her powers.
  18. Outlaws
    Nable’s script isn’t always clear on its characters’ motivations, and it drags on even at a brief 92 minutes. However, Outlaws should largely satisfy audiences who like their action movies savage and bleak.
  19. Then Came You
    In the overstuffed plot of Then Came You, Skye’s terminal illness isn’t even about her. Her life merely serves as a lesson for Calvin to overcome his fears and seize the day. It’s a shame this manic pixie dream sick girl can’t even get her own movie.
  20. A Breath Away
    Even as it treads on familiar Stephen King (“The Mist”) and John Carpenter (“The Fog”) territory, the film has moments that will leave you gasping for oxygen — as long as you choose to avoid all those gaping plot holes.
  21. St. Bernard Syndicate
    There are enough curiously deadpan, cringeworthy bits in Laerke Sanderhoff’s loopy script to keep you hooked, even as you search for the point of it all.
  22. The Nightingale
    This is a profound and difficult film, an attempt to grapple with the existence and mindless perpetuation of evil, and to suggest both the fleeting satisfaction and the eternal futility of vengeance. Nothing about it is easy, and everything it shows us matters.
  23. Tito and the Birds
    Tito and the Birds is a small marvel. Only 73 minutes long, it marries an adventurous visual imagination with a darkly provocative political parable. Its heroes may be children, but its themes are definitely adult.
  24. Who Will Write Our History
    Though its form is complex, including archival scenes that include concentration camp-type footage, the film’s emotional through line is clear and direct.
  25. Daughter of Mine
    Mothers are complicated. Children are complicated. Daughter of Mine doesn’t try to explain this bond — it just wants to revel in its glorious, enriching messiness.
  26. Piercing
    Piercing is decidedly not for everybody, but it somehow avoids exploitative luridness, thanks in part to the peculiar aura of uneasy innocence that Abbott and Wasikowska create around their roles (which are really more constructs than characters).
  27. The Unicorn
    Directed by Robert Schwartzman (“Dreamland”), The Unicorn is more silly than sexy, but it also has moments of seriousness with an emphasis on the value of honesty and trust in relationships.
  28. Braid
    Peirone’s first feature is marked by a daring style and a willingness to dive deeply into the darker psychology of female friendship. A uniquely feminine horror film, Braid is a bold debut worth watching.
  29. The Golem
    A well-crafted and idiosyncratic supernatural thriller, the film plays like a mix of “Frankenstein,” “The Witch,” and some of the Coen brothers’ more explicitly Jewish movies.
  30. Jihadists
    Margolin says we should “fight with ideas,” but Jihadists misses an opportunity to make vivid how that method of struggle would look.
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