Los Angeles Times' Scores

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For 16,522 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 16522
  2. Mixed: 5,808 out of 16522
  3. Negative: 2,017 out of 16522
16522 movie reviews
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  1. Where Is Kyra?
    If Young's work here is another master class in painterly under-lighting, then Pfeiffer's brilliantly self-effacing performance feels like something sculptural by comparison. Remarkably, she doesn't compete with the movie's rigorous visual scheme; she completes it. Her powers of expression, far from being obscured by all this darkness, are instead enriched and heightened by it.
  2. The Endless
    Great use of an eerie Southern California landscape and some fine, naturalistic acting emphasizes how the ordinary can sometimes seem threatening — and vice-versa.
  3. Flock of Four
    Cathey brings a burnished, bone-deep authority to the question of who music belongs to, and it's handled in a way that doesn't forgive the movie's tonal missteps, but also doesn't dampen its earnest nostalgia for a lost time.
  4. An Ordinary Man
    Kingsley is certainly committed to the arc of tough guy stripped bare, but his gifts aren't served well by an artificially studious attempt at applying Understanding 101 logic to a perpetrator of atrocities.
  5. Wildling
    Böhm doesn't do so well with Wildling's scare scenes and gore, because he seems more focused on making a coming-of-age character study than an effective fright-flick. But he has one remarkable character in Anna, who's played by Powley as a feral gal with a heartbreakingly doleful soul.
  6. Aardvark
    Despite a strong lead cast and good intentions, Aardvark is a drag. Writer-director Brian Shoaf may have much to say about family dysfunction and its emotional effects but never finds a persuasive enough way to mine this oft-tread territory.
  7. Krystal
    The Dixie-set, coming-of-age tale Krystal, directed by William H. Macy and written by Will Aldis, is too forced, chaotic and randomly eccentric to make for a fully engaging and cohesive emotional experience.
  8. Blumhouse's Truth or Dare
    Other than a single, solid jump scare, this supernatural snooze barely qualifies to bear the genre's name.
  9. Submergence
    While Vikander and McAvoy are two undeniably photogenic actors who also radiate considerable intelligence, their best efforts are lost in the claustrophobic environment.
  10. 10x10
    hough the first half of the picture is adequately tense and well-made, it's not strikingly cinematic or engagingly mysterious enough to justify the stalling. Or maybe the problem is that 10x10 takes too long to let Evans and Reilly off the leash.
  11. Rampage
    Not that you would anyway, but it doesn't pay to think too hard about "Rampage." Sure, it could be improved (shorter would have helped), but it gets the job done in a more or less acceptable way. Not the highest praise, but things could have been worse.
  12. Borg vs. McEnroe
    Though American sports dramas find it hard to avoid heartwarming elements, this is a decidedly more even-keeled film, its European nature allowing it to focus on the drama of character as well as what happened on the court.
  13. Come Sunday
    It’s odd how effectively the movie winds up accomplishing what some of the best sermons do — heightening our compassion, stirring our emotions and intermittently earning our awe.
  14. The Rider
    With its gorgeous frontier lyricism and its wrenchingly intimate story of a young man striving to fulfill what he considers his God-given purpose, The Rider comes as close to a spiritual experience as anything I've encountered in a movie theater this year.
  15. A Nightmare in Las Vegas
    While A Nightmare in Las Vegas is sometimes rough around the edges, it's intensely compelling and isn't afraid to demand answers to questions that seem to have gone unasked. In many ways, it's a first step in processing the enormity of this event.
  16. Beirut
    Even decades after it was written Beirut is as relevant as it is entertaining, and it is very entertaining indeed.
  17. Do You Trust this Computer?
    The movie is breezy to a fault. The interviewees are focused and articulate, but aren’t given time to cover more than the basics. Anyone who’s already been following the ongoing conversations about the future of AI won’t learn much new.
  18. Mantra: Sounds into Silence
    For the skeptics, the film doesn't only focus on how chanting makes practitioners feel, though that is its most compelling, quiet argument. For those who meditate, it also reveals the physical changes that are measurable in brain scans.
  19. Summer in the Forest
    Wright's film is a beautiful and deeply empathetic depiction of this community, a portrait of Vanier and his philosophy of compassion as the source of true human connection, found and forged with those who have otherwise been cast out by society.
  20. Chappaquiddick
    While Chappaquiddick sheds some light on the proceedings, the film leaves us feeling, as Kennedy intimate Ted Sorensen (Taylor Nichols) puts it, "history has the final word on these things," not Hollywood.
  21. The Miracle Season
    The Miracle Season moves with a brisk energy and pace, pausing only to draw a few tears hear and there. It's peppered with girl power bangers, training montages and inspirational speeches. But it relies on storytelling that tells rather than shows.
  22. Lean on Pete
    What happens to Charley, the film posits, the bad and the good, is not so much the fault of specific individuals but of the indifferent dead ends built into America's despairing culture of the underclass. Your heart goes out to this striving, yearning young man, and that's a tribute to the fine filmmaking on display.
  23. The Workshop
    The trappings are thriller-ish, but the playing field is recognizably timely: a fast-changing economic/cultural world in which some youth are up for the challenge to reconcile a vanished past with a roiling present — France's terrorism woes are explicitly referenced — while others are dangerously indifferent to it.
  24. Seven Years of Night
    This is a long, miserable wallow, making audiences feel every dark minute of its title.
  25. Blockers
    What derails Blockers in the end is a curious lack of imagination, an inability to think beyond the raunch-com genre's most sentimental clichés.
  26. Ismael's Ghosts
    The movie before us may be far from perfect, but with some crucial narrative and thematic tissue restored, it plays much more clearly, and satisfyingly, as an evocation of Ismael's emotional and psychological rupture, in his life as well as his art.
  27. Shelter
    The dissipating focus and the turgidly explanatory dialogue ultimately affects the legitimately surprising twist at the end, one in keeping with espionage's great theme — the intertwining of loyalty and betrayal — but that lacks oomph after so awkwardly uninvolving a buildup.
  28. Sweet Country
    While many familiar tropes are present, including murder, mayhem, a tough lawman and a tentative posse, Thornton uses them to tell a 20th century outback story and offer sharp, pointed commentary on relations between whites and indigenous peoples.
  29. Lowlife
    The tangled plot is ultimately too simple, and the film's sociopolitical commentary too paltry. But Lowlife does have a refreshingly varied and up-to-date cast of characters. With seedy B-movies, just a little bit of ambition elevates the generic.
  30. You Were Never Really Here
    There is more to admire here than a simple economy of form and content, and the spareness of Ramsay's approach is no mere approximation of Ames' hard-boiled prose. The texture is as gritty as the filmmaking is exquisite.
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