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. Atomic Homefront
    Atomic Homefront is a both a fiery indictment of systemic inaction and a tribute to the work of those battling for their families’ safety.
  2. Suck It Up
    Suck It Up is directed with a fluid, crisp sense of energy and musicality by Canning, with a rock/grunge soundtrack
  3. Wexford Plaza
    Wong’s deft script and sure-handed direction means that even as these characters spiral, we never blame one or the other. It’s a unique approach to storytelling and character building, and it signals Wong as a major talent to watch.
  4. Inheritance
    Laura E. Davis and Jessica Kaye, who co-wrote and directed, compress a lifetime’s worth of familial puzzle pieces into a few choppy days of angst and dubious behavior that never quite gels, despite being occasionally intriguing.
  5. Let There Be Light
    Despite frequent self-seriousness, a melodramatic third act and a seeming fixation with Islamic State, this unevenly acted, Alabama-shot film is not without its stabs at humor.
  6. Halloween Pussy Trap Kill! Kill!
    Halloween Pussy Trap Kill! Kill! is just dumb enough to be a potentially fun candidate for someone’s “bad movie night.”
  7. Flesh and Blood
    The movie bleeds honesty, though its individual components are more memorable than how they’re assembled.
  8. Mansfield 66/67
    It’s not an intimate portrait of the woman, but a celebration of the sex-positive, taboo-breaking image she created for herself and the way she rocked American culture during a hugely transitional moment.
  9. AL DI QUA
    Al Di Qua is both necessary and, in Franco’s more flamboyant touches, perhaps a bit thickly applied.
  10. Mully
    t times, Mully is difficult to watch as it explores the depth of poverty and abuse for some Kenyans. However, Mully’s story is ultimately heartwarming, with the postscript about his family and his efforts offering a balm to the pain.
  11. Joan Didion: The Center Will Not Hold
    It's that the closeness with Dunne, as well as his complete familiarity with the boldface-names life she and her husband led in both Los Angeles and New York, has given this film a quality of personal intimacy that makes it moving and involving.
  12. Aida's Secrets
    Aida’s Secrets movingly embodies the traumas that, at war’s end and long after, are inseparable from liberation.
  13. Brimstone & Glory
    “Brimstone” is less successful as it edges toward an impressionistic immersion into fire and fiesta, but as you-are-there experiences go, it has energy to burn.
  14. Liberation Day
    More detail about how this concert came to be — and what it means to both the performers and their patrons — would’ve made Liberation Day more illuminating, at least as a piece of journalism. But there’s a subtly meaningful power to what the film actually does.
  15. AlphaGo
    On paper, a 90-minute documentary involving the playing of a 3,000-year-old Chinese board game wouldn’t seem to lend itself to adjectives like “lively” and “compelling,” but darned if Greg Kohs’ AlphaGo isn’t those things and more.
  16. Acts Of Vengeance
    Occasionally, when you Death Wish upon a star and that star is Banderas, you get a serviceable time-waster like Acts of Vengeance.
  17. The Truth About Lies
    On a single day, the protagonist of The Truth About Lies is fired from his job, his apartment burns down and his girlfriend dumps him. He has it easy compared to anyone who actually watches this thoroughly unpleasant, unfunny comedy.
  18. Novitiate
    Novitiate sure-handedly takes us inside the world of belief with care, concern and a piercing, discerning eye.
  19. God's Own Country
    In the push-pull between Secareanu’s resonant stillness and O’Connor’s barely sublimated intensity, you feel the struggle of two souls forging a path toward each other, gradually realizing that while life may be harsh and unforgiving, love doesn’t have to be.
  20. Thank You for Your Service
    Thank You For Your Service is more effective, more disturbing than you may expect, and that is very much a good thing.
  21. The Square
    The Square means to send you out of the theater arguing, and its success on that front should not eclipse its more lasting, unsettling achievement. It affirms that art, this movie very much included, can tell us things about ourselves that we’d prefer not to know.
  22. Dealt
    As keenly observed by Korem and cinematographer Jacob Hamilton, Dealt achieves the neat trick of giving its main subject a rewarding character arc.
  23. Crash Pad
    A plucky ensemble fails to elevate Crash Pad, a forced, formulaic revenge comedy about an obnoxious slacker whose new housemate turns out to be the husband of his older ex-mistress.
  24. The Work
    There’s also such a profound sense of support among the participants, albeit of the tough-love variety, that the movie offers a strange kind of hope.
  25. Suburbicon
    In filtering a ripped-from-the-headlines story through the prism of satire, Suburbicon winds up squandering much of its power. For all that the movie borrows from history, it conveys little in the way of truth.
  26. Same Kind of Different as Me
    Same Kind of Different as Me takes its time, but the performances by Kinnear, Zellweger and especially Hounsou sneak up on you, building to an emotional, but not overstated climax.
  27. Tyler Perry's Boo 2! A Madea Halloween
    While its predecessor at least pleased his fans, writer-director-star Perry’s latest offers few laughs and embarrassing post-production work.
  28. Geostorm
    When the long-promised global barrage of tornadoes, lightning strikes, tidal waves and extreme temperatures hits in the final half-hour, the special effects are stunning. But the razzle-dazzle arrives too late, and is strangely unmoving.
  29. Where's the Money
    Lacking the incisive bite of the keenly observed campus-based “Dear White People,” the movie too often finds itself on the unfunny side of that very fine line between risqué and bad taste.
  30. Deliver Us
    The subject matter of Deliver Us is sensational, but Di Giacomo’s approach is more in the spirit of documentarian Frederick Wiseman, where very little is explained.
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