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. Egg
    With “Good Dick,” “Bitch” and now Egg, Palka has established herself as a fearless voice exploring all kinds of feminine instincts, basic or not.
  2. Fyre
    Fyre makes sure not to lose sight of the hard-working Bahamians who tried hard to make things work and paid a considerable financial price.
  3. Lionheart
    Sure, there are the kinds of contrivances and roadblocks one expects from a comic drama of this nature, but Lionheart is built more around the abiding sweetness of its message of hope-filled struggle and hard-won enlightenment than the rudiments of a business farce.
  4. Adult Life Skills
    While Adult Life Skills could often use more focus, it digs deep to achieve a sense of catharsis, and as a woman who's trying to be invisible, but can't isolate herself forever, Whittaker (currently the Doctor on “Doctor Who”) carries the film.
  5. Glass
    While Glass is an intermittent showcase for his undeniable filmmaking gifts — his meticulous attention to detail, his shivery command of technique — the movie winds up feeling less like a progression than a dead end.
  6. Don't Come Back from the Moon
    It’s an atmosphere piece first and foremost, and an effective one. But the characters, particularly the teens, feel primarily like micro-vignette archetypes of scattershot resonance rather than flesh-and-blood figures forming a tapestry in a taut tale.
  7. The Last Man
    The premise is effectively eerie; the presentation depressingly sloppy.
  8. Split Lip
    An obvious abundance of creative passion went into the two-fisted action picture Split Lip — a film that’s generally likable but ultimately too slight and derivative to recommend.
  9. The Brawler
    The Brawler isn’t terrible, but those with any interest at all in Chuck Wepner should start with one of the many better options.
  10. Close
    Written, directed and produced by Vicky Jewson, Close works well when it sticks to the distinctive personal details of this kind of job; but it too often defaults to a run-of-the-mill international thriller.
  11. Pledge
    The characters and premise of Pledge are over-the-top, but the movie understands that — whether comedy or horror — all these stories are really about a desperate yearning for belonging.
  12. Dragon Ball Super: Broly
    “Broly” delivers exactly what “Dragon Ball” fans want from a feature; newcomers may find themselves lost in places.
  13. Replicas
    As Replicas races headlong toward its conclusion, the filmmakers manage to avoid every potentially interesting choice for far dumber, and far more inexplicable, conclusions.
  14. The Last Laugh
    An exceedingly mild affair, The Last Laugh relies mightily on Dreyfuss’ warm charm to keep the journey rolling.
  15. Buffalo Boys
    The fights are leaden, so when a movie’s bid for historical verisimilitude has already stopped at backlot-acceptable, and the character development is constrained by dumb dialogue, such meager tending-to of an Asian action flick’s primary draw is nigh unforgivable.
  16. Beyond the Night
    The generically titled Beyond the Night spins out a twisty mystery that becomes more engrossing as it unfolds. But writer-director Jason Noto’s drama too often proves a drearily one-note look at small-town crime, corruption and narrow-mindedness.
  17. Ashes in the Snow
    Director Marius A. Markevicius and screenwriter Ben York Jones fail to find much of a fresh angle on genocide and widespread cruelty.
  18. The Aspern Papers
    Landais has made a version of Aspern that is too often uncertain and unconvincing despite the good work of his female stars. And when the actresses leave the screen and the film ventures into ill-advised flashback territory, things get shakier still.
  19. Alone in the Dead of Night
    Like a lot of low-budget horror, writer-director Matty Castano’s Alone in the Dead of Night is more a case study in shrewd resource-management than it is a movie.
  20. Tall Tales from the Magical Garden of Antoon Krings
    Though Krings co-wrote and co-directed the film (the latter alongside Arnaud Bouron), “Tall Tales” lacks his usual gentle kookiness and vivid designs.
  21. Rust Creek
    Too many scenes run longer than they need to, padded out with overly folksy and reflective dialogue. But McGowan makes good use of autumnal Appalachia, staging a lot of scenes outdoors in the barren, brown hills.
  22. Sgt. Will Gardner
    [Martini's] filmmaking instincts, undercut by the script’s meandering, episodic structure, prove too self-indulgent and heavy-handed to tell the kind of emotionally involving tale about post-traumatic stress disorder among returning soldiers that he clearly had in mind.
  23. And Breathe Normally
    The film, which debuted last year at Sundance, covers considerable, resonant socio-political ground while being anchored by the compelling performances of its’ leads.
  24. The Upside
    The Upside was probably never going to be a good movie, but it needn’t have been such an unfortunate, spectacularly ill-timed one, the victim of circumstances it ultimately has neither the wit nor the imagination to transcend.
  25. Communion
    Communion is a heartbreaking example of a classic documentary genre — the immersive, observational film that takes a bold leap and embeds itself with a small group of people.
  26. Mojin: The Worm Valley
    While “Worm Valley” is generally diverting, the plotting is remedial — and devoid of whatever personality Zhang brought to his books. There’s just enough story here to support the next big special effects sequence.
  27. Escape Room
    It’s a mostly fun, logic-be-damned ride if you just stay in the moment and don’t think too deeply as the going gets tough — which is soon enough.
  28. Being Rose
    Despite some honest and poignant emotions and a compelling lead turn by Cybill Shepherd, Being Rose unfolds in an awkwardly constructed, herky-jerky manner that shortchanges its many characters and themes. Let’s just say the spirit is willing but the filmmaking is weak.
  29. The Vanishing
    Mullan brings edginess and gravitas to the kind of role he’s played dozens of times. Butler, though, is a pleasant surprise, departing from his usual one-dimensional action heroes to play a dramatic part — and so well that one wonders why he doesn’t do it more often.
  30. State Like Sleep
    The mix of genres and the overload of characters are too much of a drag on the film. Waterston, though, is a wonder throughout, capturing the deep confusion as a woman whose life has been so upended that she wonders if she’ll ever see straight again.
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