Los Angeles Times' Scores

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For 16,520 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: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Out of Blue
    Morley sustains a vibe of low-key Lynchian weirdness throughout, enough to keep your mind from wandering even as the investigation meanders this way and that.
  2. Non-Fiction
    [A] delightfully voluble new comedy.
  3. In Fabric
    In Fabric unfolds in a twilight zone where capitalism is a kind of dark magic, people become slaves to shopping, and the language of corporate-speak casts its own cultish spell.
  4. Destroyer
    The grim relentlessness with which Destroyer seesaws between time frames — as if to make sure that no state of abjection, past or present, goes unexplored — wore me out long before the endlessly protracted finish.
  5. Don't Leave Home
    Eerie and haunting without ever being outright scary, Don't Leave Home is different enough from current trends in horror to be of at least some interest to hardcore genre buffs.
  6. The Dawn Wall
    The Dawn Wall transcends initial conventional sports documentary trappings, emerging as an affecting portrait of conquering personal limitations.
  7. Where Hands Touch
    Asante usually excels at sharing stories audiences haven’t seen before, so it’s unfortunate that this one feels so dully familiar.
  8. A Boy. A Girl. A Dream.
    Not every directorial choice or camera movement works, but this indie drama shines in the silences. The moments between lines of dialogue are the strongest as Cass and Frida sit side by side and look at each other, with expressions and reactions saved only for us.
  9. Patient Zero
    Matt Smith (sporting a jarring Midwest American accent) and Natalie Dormer (sounding like she stepped directly off the set of “Game of Thrones”) inject what little life there is in Patient Zero, a post-apocalyptic pandemic movie that's more grade-Z than “World War Z.”
  10. The Land of Steady Habits
    Though Holofcener's films invariably make us laugh in rueful recognition of the inane complexities of lives that manage to echo our own, "Steady Habits" also conveys a melancholy darkness, a more somber cast than usual. Everything seems amusing until suddenly it is not.
  11. Armed
    The film never finds its groove. Whatever point Van Peebles is trying to make gets lost in all the noise.
  12. Rodents of Unusual Size
    The film’s initial non-judgmental perspective eventually sounds more like a public service announcement for Louisiana’s nutria control program.
  13. Hot to Trot
    Ultimately, it’s the social, sexual, political and artistic power of the same-sex dance phenomenon that gives the topic its unique heft and vitality.
  14. Letter from Masanjia
    A heartbreaking nightmare for the couple, a life-changing event for Keith, yet together their stories make Lee’s amazing film deserving of a broad audience. Letter From Masanjia is a bracing reminder of our sometimes blindered approach to globalization and the effects of simple actions.
  15. American Chaos
    While an argument can be made for it being either “too late” or “too soon,” James D. Stern’s American Chaos nevertheless serves as a handy look back on the poll-defying perfect storm that cleared Donald Trump’s path to the White House.
  16. Hal
    Hal deals with each of the director's films in a smart, engaging manner. As befits a former editor, director Scott has an ear for the great quote and the skill to make it all flow beautifully, to both entertain and help us understand who Ashby was and what he wanted to do.
  17. The Children Act
    The Children Act evinces measured intelligence and polished craftsmanship without ever quite shaking off the feel of a work filtered through its non-native medium. Still, it’s always rewarding to watch Thompson bring her lucid wit and deep emotional reserves to bear on a meaty role.
  18. I Am Not a Witch
    Nyoni, working in English and the local language of Nyanja, has an unforced way of dealing with themes like exploitation, oppression and superstition, showing how easy it can be for nonsense to pass itself off as sense.
  19. Five Fingers For Marseilles
    The ending is both shocking and inevitable. Drummond and Matthews honor the western traditions, classic, spaghetti and revisionist, while creating something stylishly original steeped in the seldom-seen rural and tribal cultures of South Africa.
  20. Nelly
    Arcan wrote prolifically about beauty and female identity in essays and articles, as well as her books, and Émond uses those words extensively in the film. But what may have been profound and poetic on the page feels redundant and banal on screen. It’s a sad tale that never manifests much more than that singular emotion.
  21. Reversing Roe
    The takeaway of Reversing Roe is that Stern and Sundberg are issuing a warning, one backed by a grim timeline, forcefully presented, that makes it all too clear what’s at stake if a landmark ruling on women’s rights is overturned.
  22. MDMA
    As the film’s sole director, writer and subject, Wang could have used some distance from the material.
  23. Lost Child
    Gently adjusting the tension throughout, Mosley knows exactly when to turn up the flame and make a point in the process.
  24. Blaze
    That Hawke so closely aligns his cinematic style, inventive as it is, with the story’s disorderly, scruffily offbeat characters and settings is both a strength and a liability. His kaleidoscopic, at times ghostly, approach proves a valiant if studied effort.
  25. Lizzie
    The respect for Lizzie means that film almost denies drama, rendering some moments almost inert. It could use an operatic high note, or even a truly deep dark night of the soul, some oscillation in the levels. But the film reflects the evenness with which Sevigny portrays the unflappable Lizzie.
  26. Bel Canto
    Swelling with humanity and romance like the crescendo of an aria, “Bel Canto” is a moving meditation on the power of love, music and proximity.
  27. Mandy
    Loving Mandy means appreciating what’s special about it from start to finish: from the psychedelic opening to the speed-metal finale. This film is a fusion of kitsch and pulp, underscored with a genuine spiritual yearning. It shouldn’t even be shown in theaters; it should be projected onto the side of an old hippie’s van.
  28. I Think We're Alone Now
    With the indie two-hander I Think We’re Alone Now, starring Peter Dinklage and Elle Fanning, this talented director is stuck in neutral with the illogical, unremarkable concerns in Mike Makowsky’s ham-fisted screenplay.
  29. The Predator
    From time to time its mix of foul-mouthed bro camaraderie and in-your-face violence nods in the direction of modest entertainment value, but the net effect is a whiplash-inducing muddle. The movie is full of noise and energy but devoid of real wit, coherence or impact.
  30. Widows
    In Widows, diversity isn’t an opportunity for showy tokenism or liberal pieties. It’s a matter-of-fact reflection of a city’s seething internal dynamics, an opportunity to probe inequities of race, class and gender that few American movies, let alone American genre movies, ever attempt to address.
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