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. Voyeur
    [A] fascinating and frustrating documentary.
  2. Alien Invasion: S.U.M.1
    With its uninspired ending, Alien Invasion: S.U.M.1 squanders its cool concept and a compelling, nearly solo performance by Iwan Rheon.
  3. The Other Side of Hope
    While the conclusion to The Other Side of Hope is open-ended, Kaurismaki unashamedly believes in brotherhood, and among other things his film celebrates people who do the right thing without making a big deal about it.
  4. Love Beats Rhymes
    Love Beats Rhymes lacks its own ambition to be something different.
  5. The Disaster Artist
    The story of how Wiseau turned his great cinematic lemon into zeitgeist lemonade is both heartening and instructive, but it also hints at darker secrets and unknowns that this movie’s upbeat dimensions can’t entirely capture.
  6. Psychopaths
    Psychopaths is too random, too kitschy — too immature.
  7. Princess Cyd
    As comfortable to slip into as an afternoon in the sun, as satisfying as a late-night piece of cake, Princess Cyd is a jewel of a film that plumbs thematic depths far below its surface.
  8. Mary and The Witch's Flower
    If Yonebayashi’s movie doesn’t have the visual richness and imaginative depth of Ghibli masterpieces like Hayao Miyazaki’s “Spirited Away,” its emotional warmth and wondrously inviting hand-drawn imagery carry on that company’s proud tradition.
  9. 24 Hours to Live
    Until it devolves into testosterone-drenched, operatic silliness, the mix of bullets, blood and banter is dumb fun.
  10. Drawing Home
    A creaky recount of the relationship between affluent, New England-born painter Catharine Robb (Julie Lynn Mortensen) and her rural-Canadian artist husband, Peter Whyte (Juan Riedinger).
  11. A Bad Idea Gone Wrong
    Headley has created three oddly memorable folks here, no small feat given their detail-light histories. It’s also a testament to the able cast — especially the enjoyably nimble Rogers — that we invest in their characters and their cockeyed plight as much as we do.
  12. Wonder Wheel
    Because of its look, some fine period music including the Mills Brothers version of "Coney Island Washboard," and actors giving it their best effort, Wonder Wheel is not as completely forgettable as it would otherwise be.
  13. Loveless
    Toward the end of this searing, finally overwhelming film, it’s unclear which is the more disturbing realization: that Alyosha was lost long before he went missing, or that you don’t really want him to be found.
  14. Daisy Winters
    The script blunts its own emotional impact with coincidences, odd choices and an ending that feels too neat, even for an inspirational film of this nature.
  15. Gangster Land
    The movie isn’t trying to understand Chicago in the Capone era. It just uses those names and stories as a backdrop for a lot of shooting, swearing and bad accents.
  16. Slumber
    Hopkins and company don’t bring much special or personal to the material. The plot’s predictable and the shocks are routine in Slumber.
  17. The Swindlers
    You may tire of the onion-peeling by the time it’s all laid bare, but for fans of the buffet-style of crime capers it’s a slick diversion, engagingly assembled and acted.
  18. Remember Me
    As a screenwriter and director, Goldbloom is green but well-intentioned, with later moments redeeming some early ugliness.
  19. Sweet Virginia
    Dagg (who previously made the very good chase picture “River”) tries too hard to give the material a highbrow frame. The movie is dimly lighted and hushed to a fault. But the China brothers’ script is strong, and Dagg elicits terrific performances from Abbott, Bernthal and Poots.
  20. A Gray State
    A Gray State disturbingly traverses the blurred boundary between reality and performance all too inherent in today’s social media-fed climate of cultural narcissism.
  21. Cuba and the Cameraman
    As a decades-long, ground-level portrait of the country, [Alpert's] vibrant film is unprecedented.
  22. Porto
    The best thing about Klinger’s time/memory/dream aesthetic is how it looks: the visual equivalent of an audiophile’s nostalgia for vinyl. But the time jumping feels precious, and the screenplay — written by Klinger and Larry Gross — falls too easily into clichés.
  23. Eric Clapton: A Life in 12 Bars
    Unlike most rock docs, “Life in 12 Bars” isn’t a look back from a distance. It’s like living through one man’s pain.
  24. Rebels on Pointe
    A delightful, embracing cultural experience.
  25. Thelma
    You could read Thelma as a saga of Sapphic liberation, a fiery critique of religious patriarchy or perhaps yet another superhero’s traumatic origin story; it’s graceful and ambiguous enough to support each of these readings. But the more possibilities the movie seems to entertain, the more its cumulative power seems to dissipate.
  26. 1945
    Simple, powerful, made with conviction and skill, 1945 proceeds as inexorably as Sámuel and his son on their long walk into town. It's a potent messenger about a time that is gone but whose issues and difficulties are not even close to being past.
  27. Call Me by Your Name
    Guadagnino’s storytelling is overpoweringly intimate but never narcissistic. He directs our gaze both inward and outward, toward the treasures and mysteries buried within this Italian paradise, and also toward the unseen, unspoken forces that have threatened bonds like Elio and Oliver’s for millennia.
  28. Bitch
    For a film that’s incredibly angry and blackly comic, it finally, and surprisingly, makes a case for compassion and understanding.
  29. Darkest Hour
    From its grab-for-all-the-gusto Gary Oldman performance to its direction by Joe Wright, Darkest Hour is nothing if not an energetic, showy piece of work, but some types of showy have more staying power than others.
  30. The Man Who Invented Christmas
    The Man Who Invented Christmas is a jaunty, amusing patchwork of truths, half-truths and pure fiction that cleverly combine to recount the story of the whirlwind creation of Charles Dickens' famed novella "A Christmas Carol."
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