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. Train to Zakopané
    Among the more glaring issues are performances that sound distractingly contemporary and obvious budget constraints that serve to suffocate the overly talky chamber piece instead of providing much-needed breathing room.
  2. Gehenna: Where Death Lives
    "Gehenna" features impressive gore effects, but the plot's an uninspired hodgepodge of dozens of other "haunted structure" pictures, set at a plodding pace, in a gray, dim location. It peaks in its first five minutes. The remaining 100 go nowhere, slowly.
  3. The Con Is On
    The Con Is On takes off like a shot: a stylish caper with enjoyably wry, martini-soaked dialogue and a terrific comedic turn by Uma Thurman as a glamorous British scam artist. Then there's the film's second half — which sinks like a stone.
  4. Love & Bananas
    Love & Bananas works on two levels, spreading awareness about the plight of Asian elephants and the damage that tourist activities like elephant treks wreak, as well as documenting Noi Na's 500-mile journey and dramatic rescue.
  5. Son of Bigfoot
    The script misses the spark of better family films with its overly complicated plot and lackluster dialogue. However, "The Son of Bigfoot" features some nice animation, particularly in its action scenes, and its moments between father and son are especially sweet.
  6. The Cleanse
    Although it may evoke such films as "Gremlins" and "The Lobster," as well as David Cronenberg's earlier work, writer-director Bobby Miller's oozy, eerie, yet weirdly soulful yarn feels like an original.
  7. Ray Meets Helen
    This mannered character study comes across as more affected than affecting.
  8. In the Last Days of the City
    A soulful, atmospheric travelogue that toggles between immersing in and removing itself from the chaotic beauty of teeming humanity, El Said's movie gives a humming, on-the-edge metropolis its heart-pumping, reflective due.
  9. Alex & The List
    A great cast cannot save the dramatically inert and totally inept rom-com "Alex & The List," which is short on both the rom and the com.
  10. The 12th Man
    The 12th Man is a polished crowd-pleaser, with a timeless message: Nazis suck.
  11. Bad Samaritan
    The filmmaking itself is suspenseful, classic horror filmmaking, with plenty of jump scares and ominous camera movements. But where the film succeeds most is in its realistic use of technology.
  12. Andover
    This choppy film, which is saddled with a subplot about a dogged insurance agent (Richard Portnow), becomes more mechanical than emotional, leapfrogging time, logic and process as it scrambles to its too clever-by-half conclusion.
  13. Racer and the Jailbird
    Racer and the Jailbird remains absorbing throughout, thanks primarily to the two leads, who are both almost frighteningly believable as lovers willing to risk everything to stay together.
  14. Jewel's Catch One
    Anecdotes and photos bring the golden age of Catch One to life, with a lively disco soundtrack and Thais-Williams' font of fascinating stories. But the film itself could use a more rigorous structure as it wanders from anecdote to anecdote and era to era.
  15. Goran
    For those who like their jokes on the cruel side, Goran is a darkly comic treat that is a far better experience for the audience than its characters.
  16. Lou Andreas-Salomé, The Audacity to be Free
    Director Cordula Kablitz-Post, who scripted with Susanne Hertel, effectively presents Lou as neither heroine nor genius but as a flawed, complex, fascinating pacesetter.
  17. Duck Butter
    Shawkat's writerly voice in Duck Butter is deeply personal and probing. The film is funny and honest and Arteta, working with cinematographer Hillary Spera, balances the intimate material with a light, airy sensuality. Shawkat and Costa each give intensely powerful performances, and together they are magnetic.
  18. Kings
    Ergüven's vision is a wild, melodramatic journey that offers no answers or insights, and by the end it only leaves one feeling, well, completely flabbergasted.
  19. Backstabbing for Beginners
    Although James' muted performance comes across as a bit lifeless alongside Kingsley's more colorful, masterfully modulated turn, the characterizations nevertheless allow for satisfyingly complex, real-world renderings of conventional heroes and villains.
  20. Modern Life Is Rubbish
    As the name suggests, Modern Life Is Rubbish romanticizes analog relationships — and is meant for anyone who does the same.
  21. The Escape of Prisoner 614
    While The Escape of Prisoner 614 has the right cast for a good old-fashioned romp, this movie barely moves.
  22. Jet Trash
    It wears its influences on its tattooed sleeve, but this drug-fueled film is still an entertaining watch filled with bold style.
  23. Supercon
    While clearly aiming for R-rated irreverence, the script, penned by former Kevin Smith assistant Knutson, along with Andy Snipes and Dana Snyder, proceeds to hurl a tired barrage of obnoxious sexist/racist/homophobic sludge, with humor that seldom rises above crotch level.
  24. Disobedience
    As Lelio's earlier films demonstrated, the director's style is restrained but potent, which helps the impact of the actors' performances as well as the picture's fairly graphic love scene. The possibilities for these characters are more varied than it initially seems, and "Disobedience" thoughtfully considers them all.
  25. The Great Silence (1968)
    While the film's masterful imagery — this might be the coldest, snowiest western ever — and inventive Ennio Morricone score are spectacular, less audience friendly is a nihilistic, revisionist denouement that apocalyptically subverts the genre's norms.
  26. The Rachel Divide
    The Rachel Divide never quite cracks Dolezal's facade (if it even is a facade). But Brownson does move beyond the "think-piece" take on a real person — while also questioning whether she should.
  27. Zama
    Give yourself some time to adjust and Martel's style, at once immersive and disorienting, starts to feel like a corrective, a clearer way of seeing and hearing. The physical world here is not some abstract commodity; it is fiercely, palpably present, and utterly indifferent to the whims of men arrogant enough to think they can tame it into submission.
  28. The House of Tomorrow
    As a film about punk rock, living on the edge and coming into your own, The House of Tomorrow is a strong debut from Livolsi.
  29. This Is Our Land
    This Is Our Land emerges as a vital portrait of political machination, human duality, the power of fear-mongering and how people can reflexively divide into "us and them."
  30. Shock and Awe
    If this swift, entertaining film, set during the post-9/11 run-up to the Iraq war, brashly leans left, it has history on its side as well as, it seems, the interests of our soldiers.
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