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. Love All You Have Left
    This is writer-director Matt Sivertson’s first film, and he and his cast and crew are able to offer only a maudlin drama that inspires eye rolls rather than tears.
  2. Leave No Trace
    Fiercely involving in a way we're not used to, made with sensitivity and honesty by director/co-writer Debra Granik, it tells its emotional story of a father and daughter living dangerously off the grid in a way that is unnerving and uncompromising yet completely satisfying.
  3. Uncle Drew
    Make no doubt about it, Uncle Drew is a very silly film, old-age makeup and all. But it's got humor, heart and a killer soul soundtrack. You'd be soulless to not find some joy in this movie that's pure summer fun.
  4. Never Steady, Never Still
    Hepburn’s eye for detail and nuance is exceptional, especially as she evocatively captures the extremes of the film’s imposing landscapes. This is an austere, demanding, deliberately paced picture that will reward the patient.
  5. Black Water
    Everything about this movie seems ripped from the ’80s, including the woefully sexist gender politics. But that’s only one of many reasons that this B-movie dreck should have stayed underwater.
  6. The Elephant and the Butterfly
    Belgian director Amélie van Elmbt’s lovely trifle The Elephant and the Butterfly is as sweet and gentle — and at times simplistic — as its storybook title may imply.
  7. Ideal Home
    Equal parts sweet and tart, director Andrew Fleming’s “Ideal Home” is the cinematic equivalent of Sour Patch Kids.
  8. Dark River
    It’s the superbly acted interplay between the embattled Alice and Joe that drives this lean, gripping, often profoundly tragic tale.
  9. Ant-Man and the Wasp
    Ant-Man and the Wasp is a movie of deliberately low stakes and, for that very reason, enormous charm.
  10. Sicario: Day of the Soldado
    The trouble with this muscular, fitfully absorbing, confusingly titled action movie — a bigger, brasher and less memorable picture than its predecessor in every respect — is that its cynicism too often feels like a put-on.
  11. Paul, Apostle of Christ
    There is no triumph or easy uplift here, only an urgent emphasis on Christ’s message of sacrificial love and a principled rebuke to anyone who would cheapen the gospel with politics — a conclusion that has lost none of its sting or relevance 2,000 years later.
  12. Christian Audigier the Vif
    Christian Audigier the Vif lacks the strong narrative structure that would make it a better documentary, and it often skips details about Audigier’s life and experience that might have offered deeper insight into the designer.
  13. 6 Dynamic Laws for Success (in Life, Love & Money)
    In the absence of more intricate, involving plotting, the tongue-in-cheek characterizations and eye-catching production design only take things so far, and the novelty begins wearing off well before that dog-eared copy of “6 Dynamic Laws” reveals its final chapter.
  14. Racing Colt
    There’s some well-crafted dialogue and decent acting, including from Joseph R. Sicari as a besieged producer. But this overly talky and stagey film, which takes place mostly in Colt’s hotel room and trailer — and frustratingly off-set — lacks the requisite catharsis and charisma to sufficiently engage.
  15. Boundaries
    Feste...has been known to elicit strong performances even from thuddingly obvious, maudlin material. But her attempts to establish an atmosphere of drab, low-key realism — evident in the dim lighting, wobbly framing and Laura’s penchant for rumpled plaid shirts — can scarcely conceal the essential phoniness of the material.
  16. Damsel
    There is something inspired about the idea of fusing old-school aesthetic brio and revisionist politics, but the instant you see what Damsel is up to, its power begins to dissipate.
  17. Half the Picture
    With careful craftsmanship, Half the Picture is an important piece of testimony in the fight for the civil rights of female directors in Hollywood.
  18. Eating Animals
    The message is clear, and memorably rendered: Care about where your meat comes from, because then you might eat less of it, feel better when you do eat it, and cause a little less suffering in the world.
  19. Spiral
    The startling spike in anti-Semitism over the last two decades is certainly a vast and vital topic for documentary exploration, but director Laura Fairrie’s Spiral proves a largely underwhelming look at an overwhelming problem.
  20. Izzy Gets the F*ck Across Town
    Papierniak’s film is energetic, jam-packed with talent and has a likable indie throwback feel with some memorable moments.
  21. Mrs. Hyde
    Among the movie’s more disquieting pleasures is the sight of this peerless actor — known for her ability to project an air of casual, chilly mastery over any situation — wilting under the mockery of her character’s unruly students, who treat her with only slightly more contempt than her colleagues do.
  22. Distorted
    What the movie does have going for it is Ricci, who in the past few years has become a master at playing offbeat heroines in violent stories. Ricci is convincingly terrified in a film that’s never scary enough to justify her performance.
  23. The Catcher Was a Spy
    While the always affable Rudd is up to the more serious task at hand, the overly studied direction by Australian Ben Lewin frustratingly keeps the audience at arm’s length from both its lead and that surprising chain of events, which feel as palpably pieced together as the stitching on Berg’s baseballs.
  24. Incident In a Ghostland
    There’s real ugliness here, with the creative torture visited on the victims being enough to unsettle all but the most hardened of horror fans. Unfortunately, the ugliness isn’t solely in the on-screen violence. Transphobia and misogyny flow through the film as much as blood, staining what might have been a solid genre effort.
  25. The Accidental Detective 2: In Action
    The humor is often broad to the point of being shrill — especially once an eccentric genius nicknamed “Hopper” (Lee Kwang-soo) joins the team. For the most part though, The Accidental Detective 2 whooshes by, easily and forgettably.
  26. Beach House
    Peppered with dream sequences and flashes of its protagonist’s thoughts, Beach House is a murky mess. It feels more like a draft for a college creative writing class rather than a finished work.
  27. Intersection
    The modestly watchable, at times intriguing romantic mystery Intersection is never quite skillful or convincing enough to forget for even a moment how many far better haunted hunk-meets-femme fatale thrillers have come before it.
  28. China Salesman
    The woodenness of China Salesman, coupled with the general oddness of a two-fisted adventure yarn about hyper-aggressive telecom companies, gives this movie some “weird cinema” appeal. But if you can’t tolerate stinky cheese, leave this one on the shelf.
  29. Westwood: Punk, Icon, Activist
    It is the charm of Lorna Tucker's film that, her subject's reluctance notwithstanding, it provides a fascinating, involving glimpse of both who Westwood was back in the day and who she is at this particular moment in time, so much so that we genuinely miss her once the credits begin to roll.
  30. A Skin So Soft
    Côté’s film patiently paints a picture of men who are more than their bodies, revealing the emotions beneath the skin and muscles and challenging perceptions about them.
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