Los Angeles Times' Scores

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For 16,518 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: 8,696 out of 16518
  2. Mixed: 5,805 out of 16518
  3. Negative: 2,017 out of 16518
16518 movie reviews
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  1. Look Into My Eyes
    Human connections are gifts, imagination is powerful and empathy isn’t a trick. These are the things Look Into My Eyes patiently communicates to us from its watchful perch.
  2. My Old Ass
    The moment Park focuses her screenplay on — the weeks before leaving for college — is well-trodden territory for young-adult movies. To counter this, she has an uncommonly strong script for the genre, balancing the sappy and sentimental with a slangy skater-queer-cool-kid voice inhabited comfortably by both Stella and Plaza.
  3. Speak No Evil
    When you won’t speak the evil of “Speak No Evil,” then a disservice has been done to the source terror and how expertly it refused to deliver us to a safe place.
  4. Seeking Mavis Beacon
    There are some cringeworthy moments watching the pair win at detective work while losing as vulnerable fangirls. But like any soulful quest worth its salt, Seeking Mavis Beacon makes the lows as meaningful as the highs, endorsing a wild web world in which mystery and exposure can peacefully coexist.
  5. His Three Daughters
    There’s an acting master class to savor, as one might expect from a cast that includes Carrie Coon, Elizabeth Olsen and Natasha Lyonne, each of them in career-best form.
  6. The Front Room
    The contrived third act notwithstanding, expect audiences in movie theaters to engage with The Front Room in audible gasps, one nauseating stunt at a time.
  7. Rebel Ridge
    Hanging over the narrative is a sense of futility, that this can and will happen again and again. Another lawsuit, another life lost, another workaround. But for a moment, one man on a bike with a few expertly wielded weapons can wreak holy havoc on corrupt cops, and damn does it feel good to watch.
  8. Beetlejuice Beetlejuice
    Certain qualities are undeniable, such as Keaton’s command of this character and O’Hara’s unique wit. Ryder has the heaviest performance lift, transitioning her character from teen to mom, but she finds her groove in the back half of the movie. But there’s something a bit bland and manufactured about this version.
  9. Close Your Eyes
    Using a style of elegant lyricism, which enshrines tiny moments into glisteningly miraculous turning points, Erice lets the exchanges between the people he’s conceived play out without the need to advance the plot.
  10. Slingshot
    There’s just simply nothing to hook into aside from Fishburne’s performance, which is the only captivating element of the film, and even that is derivative of his iconic Morpheus from “The Matrix.” Despite its many twists and turns, Slingshot shows no signs of life.
  11. Reagan
    A childish slog of hero worship.
  12. Between the Temples
    A comedy about learning to live with grief, Between the Temples has a lot going on in its head and heart.
  13. The Killer
    [Woo] may have tamped down some of his more sentimental and tragic impulses, but he definitely flexes for the climactic melee in a deconsecrated church, which is beautifully bananas, but also, in a funny way, a personal statement on the intimacy that quality action filmmaking should create.
  14. The Crow
    Despite the high body count, consider this a murder of The Crow.
  15. Blink Twice
    Blink Twice is a big, bold swing, even if its message becomes muddled along the way. It’s clear Kravitz wants to make a statement with this film. What’s less clear is what exactly that statement might be.
  16. Cuckoo
    One may not entirely understand exactly what is going on in “Cuckoo,” but there’s no denying how it makes you feel: rattled, unsettled, psychically imprinted with unforgettable images and sensations, which is how every good piece of horror should leave its audience.
  17. Rob Peace
    Writer-director Chiwetel Ejiofor (following up his impressive 2019 directing debut, “The Boy Who Harnessed the Wind”) proves more earnest than skillful at bringing heartfelt complexity to another tale of whiz-kid promise and resourcefulness.
  18. Sugarcane
    Even the landscape speaks to an emotional duality. It captivates with its natural beauty and sweep at the same time it tragically underscores the remoteness of places like St. Joseph’s, where evil could keep secret.
  19. Skincare
    Banks’ and Pullman’s deliveries of these tragicomic characters elevate what could have been merely a genre exercise into something more fascinating and satirical.
  20. Alien: Romulus
    Alvarez gives Spaeny her hero moments, whether in her care of her comrades or destroying an invasive species, and she expresses the inner strength and utter determination to survive required of an “Alien” franchise installment. Sometimes, that demonstration of sheer humanity and grit is all that’s required to make one of these films sing.
  21. It Ends with Us
    In the film, Lily is delusional about her relationship and the movie blurs the lines of the abuse for too long to a frustrating degree that essentially robs our hero of her agency, and elides some of Ryle’s obvious manipulation.
    • 46 Metascore
    • 70 Critic Score
    Dance First
    The emotional acuity of a writer who felt things too deeply to stoop to cheap sentiment comes through.
  23. Good One
    In its lived-in quality and gathering churn, Good One is a dream of an indie, from the craft in every frame to the humor, epiphanies and mysteries that gird its portraiture.
  24. Daughters
    Daughters culminates with an emotional father-daughter dance inside a Washington, D.C., jail. But its real potency, as both a portrait of families riven by incarceration and a call to action on prisoners’ rights, lies in what comes before and after.
  25. Borderlands
    An insipid mishmash of trite genre tropes, Borderlands is devoid of any real edge.
  26. Elizabeth Taylor: The Lost Tapes
    All in all, Burstein’s film feels big and perceptive, a love letter to a remarkable, interesting and very human human.
  27. Kneecap
    Every Irish speaker in Kneecap wants to be seen, felt and heard in their fight for freedom. That funny, funky riot of attention-seeking pain and pleasure, inspired by the pioneering voices of American hip-hop, makes for a bracing, entertaining transatlantic dispatch.
  28. The Instigators
    There are laughs and clever bits of business in “The Instigators,” but there’s never a reason to care.
  29. Sebastian
    Striking a fine balance between lurid voyeurism and grounded naturalism, Mäkelä’s film is a gripping wonder, perhaps a tad too literate, with its nods not only to Ellis but to authors like Jean Genet and Cyril Collard.
  30. Harold and the Purple Crayon
    The premise still feels too thin and juvenile to grab audiences of any age. So what algorithm decided this movie would be a lucrative endeavor?
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