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 2.4 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. Ghostlight
    This is a beautifully life-affirming fable about the power of art to heal, but really, it’s the people making the art that do the work. Ghostlight is a stunning and incredibly moving tribute to that process.
  2. Inside Out 2
    The film’s representation of how emotions and memories create a belief system and sense of self are indeed useful for talking to kids about how their inner lives and brains work, and the imagery is smart, but it has the feeling of an educational children’s book.
  3. Flipside
    It’s all music, Wilcha’s sweetly philosophical movie seems to be saying — and being present enough to listen.
  4. The Watchers
    Regrettably, the movie itself feels trapped by its airless gallery of carefully crafted images, familiar to the high-toned end of the horror genre: elegantly mood-thick surroundings, deliberately half-seen creatures, actors positioned as if in a still life.
  5. I Used to Be Funny
    In her film debut, [Pankiw] delivers a full and fulfilling narrative arc that is anchored by a surprisingly complex performance from Sennott. Rooted in a specific sense of place, character and emotional truth. The movie is a rare indie gem worth discovering.
  6. Hit Man
    Hit Man makes for an undeniable good time. Sometimes all you really need is a couple of impossibly attractive people enjoying each other’s company, captured by a filmmaker who knows when to stay out of their way. And if that’s not a movie, well, then, I don’t know what is.
    • 79 Metascore
    • 90 Critic Score
    In Our Day
    Hong invites us to look beyond story parallels into something simultaneously deeper and more quotidian.
  8. The Dead Don't Hurt
    The supremely watchable pairing of these magnetic actors is what helps lift this lyrically crafted frontier love story above the usual efforts to restore the genre’s appeal.
  9. Kidnapped: The Abduction of Edgardo Mortara
    If the details of “Kidnapped” aren’t familiar, do yourself the favor of withholding an online search until the full thunder and rigor of Bellocchio’s dramatic instincts can work you over — equivalent to a lavish ’60s period costume drama burnished into an engine of galvanizing narrative intention.
  10. Bad Boys: Ride or Die
    It’s a thin tapestry of lore with some interesting creative embellishments, but without any real interest in character, it feels flimsy and disposable. You could do worse, but you could certainly do better.
  11. Young Woman and the Sea
    These filmmakers clearly have a knack for capturing nautical adventure and the delusional yet undeniably human desire to conquer the seas.
  12. Summer Camp
    While there are pops of piquancy in Landon’s script, her direction and the performances (with the exception of Woodard) fail to inspire much more than a shrug. “Summer Camp” is only mildly interesting as another entry in the Keaton-verse.
  13. Ezra
    Each character choice in “Ezra” is plausible because it comes from a place of emotional honesty, both in the script and the performances.
  14. The Garfield Movie
    Though the film is formulaic and somewhat annoyingly energetic, it’s cute and irreverent enough, and manages to bridge the generation gap, offering up a kid-friendly flick that can keep adults somewhat entertained for the duration, proving that even after all these years, Garfield’s still got it.
  15. The Beach Boys
    Running less than two hours at a time when four-hour rock docs are not unusual, this is a swift, compact telling, with surprisingly little in the way of music and whole swaths of recording history skated over. But it looks fantastic, with a bounty of archival photographs and home movies, many of which are new to me, even as a veteran of these things.
    • 66 Metascore
    • 60 Critic Score
    Taking Venice
    The story embedded within it is an important one. A historic shift did occur. The account is well-told and worth knowing, even without conspiratorial murmurs.
  17. Gasoline Rainbow
    This wild, vicarious ride through youthful adventure is absolutely worth taking, for your own nostalgia and for the reminder that the kids are indeed alright.
  18. Megalopolis
    Once you let go of the understandable dream of Coppola returning with another masterpiece, there is much to enjoy in “Megalopolis,” especially its cast members, leaning into their moments with an abandon that was probably a job requirement.
  19. Back to Black
    With a visual style that is straightforward and serviceable at best and a frustratingly limited emotional range, Back to Black never captures the beauty of Winehouse’s talent, the heartbreak of her performances or the horror of her tragedy.
  20. Babes
    Glazer and Buteau make their characters deeply believable in their differences as well as their connection, the jokes are plentiful, beautifully, er, delivered and at times painful in their truth-telling.
  21. Furiosa: A Mad Max Saga
    For the first time in Miller’s now-five-film franchise, he seems to be falling shy of the immediacy he’s sustained, often deliriously, for an entire feature.
  22. The Strangers: Chapter 1
    There is a journeyman’s proficiency to “Chapter 1” but little in the way of real spark.
  23. Catching Fire: The Story of Anita Pallenberg
    What comes through are highs and valleys seen from the inside, a clarifying memoir from an unsentimental woman who endured being called every shaming name, with powerful grace notes of understanding from a son whose eyes betray a tough childhood.
  24. Power
    Power could just as easily have benefited from the docuseries treatment, although at under 90 minutes, it lands plenty of hard truths and harder questions.
  25. Kingdom of the Planet of the Apes
    There is beauty among the terror and an element of anxious unpredictability thrashing our characters like the waves that crash against the cliffs. But the deft spectacle would be nothing without the characters and performances.
  26. Poolman
    Pine’s Poolman is sort of the physical, emotional and spiritual embodiment of Los Angeles itself: earnest, silly and a little (or a lot) ridiculous, but insistently charming if you decide to surrender to the experience.
  27. Wildcat
    It’s a soulful, pointed and unconventional grappling with the mysteries of the deeply Catholic, norm-shattering Georgia native’s life and work.
  28. Evil Does Not Exist
    After so fruitful a collaboration on “Drive My Car,” Hamaguchi and Ishibashi may have topped themselves with something even more compelling.
  29. I Saw the TV Glow
    The film invents a new emotion: passionate ambivalence. Schoenbrun’s argument might be that this is exactly the response they’re after. They’ve accomplished it, but at the expense of engagement, resulting in a collection of leaden scenes that might make the audience want to claw out of its own skin.
  30. The Fall Guy
    You expect that the film will boast exceptional stuntwork — and it does. At its best, though, it’s a romantic comedy that coasts on the charisma of its two appealing leads, Ryan Gosling and Emily Blunt.
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