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. Psychopaths
    Psychopaths is too random, too kitschy — too immature.
  2. 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.
  3. 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.
  4. 24 Hours to Live
    Until it devolves into testosterone-drenched, operatic silliness, the mix of bullets, blood and banter is dumb fun.
  5. 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).
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Remember Me
    As a screenwriter and director, Goldbloom is green but well-intentioned, with later moments redeeming some early ugliness.
  14. 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.
  15. 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.
  16. Cuba and the Cameraman
    As a decades-long, ground-level portrait of the country, [Alpert's] vibrant film is unprecedented.
  17. 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.
  18. 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.
  19. Rebels on Pointe
    A delightful, embracing cultural experience.
  20. 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.
  21. 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.
  22. 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.
  23. Bitch
    For a film that’s incredibly angry and blackly comic, it finally, and surprisingly, makes a case for compassion and understanding.
  24. 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.
  25. 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."
  26. Coco
    Try as you might to lose yourself in Coco, or pause to ponder its metaphysics, too often you find yourself hindered by the movie's breathless velocity.
  27. On the Beach at Night Alone
    On the Beach at Night Alone isn’t as accomplished as Hong’s 2015 collaboration with Kim, the masterfully bifurcated “Right Now, Wrong Then.” But it’s more than worth seeing for Kim’s exposed nerve endings alone, and also for the way in which Hong’s typically playful sensibility seems to tilt at times into a surreal, menacing strangeness.
  28. Soufra
    To consider the long-standing Bourj al Barajneh is to consider the true humanity of refugees, who have hopes, dreams, lives to live and work to do. “Soufra” efficiently and effectively illustrates those ideas.
  29. Holy Air
    As a wry commentary on religious tourism, and the limited avenues of prosperity for occupied, idealistic Arabs, “Holy Air” is tartly effective. And Srour’s deadpan way with storytelling, satire and elegantly fixed camera framing is a biting pleasure throughout.
  30. Oasis
    Ameer may be aiming for a profound look at self-hatred, denial or the perils of the gay closet, but his story and characters are too superficially etched to make an impact.
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