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. Scareycrows
    Though it’s never really scary, it is appropriately silly and a fun time for genre fans who prefer giggles to gore.
  2. Motherland
    An extraordinary vérité portrait of Manila’s Fabella Hospital.
  3. Slipaway
    Slipaway is a simple and sweet film, occasionally to a fault, but Partnow is a revelation. The material could feel manipulative, but she convinces viewers that every moment is real.
  4. Machines
    It never succumbs to making poverty a graphic ornament.
  5. Boston
    A bit of tightening, largely involving segues abroad to Australia, Japan and Kenya, would have helped the picture’s pacing. But it’s the pride and strength of Boston’s leaders and citizens, as well as the marathon’s devoted contenders and planners that ultimately fuel this affecting portrait.
  6. Time to Die (1966)
    Time to Die turns the showdown narrative of so many oaters into an actively intelligent, darkly funny and no less suspenseful rumination on the pull of the horizon versus the ill wind at the back.
  7. Big Bear
    Eventually, it loses steam while riding a line between outrageousness and earnestness and never quite comes together.
  8. Elizabeth Blue
    The film clearly comes from a place of deep knowledge about the intricacies of schizophrenia but has an unfortunate tendency to overexplain itself.
  9. Last Rampage
    While Little has a assembled a sharp ensemble, including Bruce Davison as the sheriff who hunts down the felons and the late John Heard as the prison warden, it’s ultimately the hardened intensity of Patrick’s commanding portrayal that gives Last Rampage its take-no-prisoners tautness.
  10. EX LIBRIS: The New York Public Library
    Frederick Wiseman's Ex Libris: The New York Public Library is more than a magisterial mash note to that distinguished establishment, it’s a heartening examination of the vastness of human knowledge and the multiple ways we the people endeavor to access it.
  11. The Tiger Hunter
    There has been no shortage of films tracking the immigrant pursuit of the American dream, but few have been as laugh-out-loud delightful as The Tiger Hunter, a sparkling first feature by Lena Khan.
  12. Happy Hunting
    More than a few times, the film feels choppy, sloppy or paltry. But Wall gives a sympathetic performance as a man facing his final stand. And even at its pulpiest, Happy Hunting has a point to make — about how in modern society we often use the pretense of morality to justify base savagery.
  13. Gaga: Five Foot Two
    The problem with “Five Foot Two,” which arrives Friday on Netflix and in theaters, is that it’s a disjointed pastiche of generic pop-star clichés.
  14. Victoria and Abdul
    For all the anti-colonialist sentiments expressed in Victoria & Abdul...those criticisms are ultimately subsumed in a warm, troubling glow of British Empire nostalgia.
  15. The Force
    The result, unusual in a documentary involving the police and the public, is a film that does not advocate for anything but the truth, one that aims to show what happens on both sides of an issue rather than coming down in favor of one or the other.
  16. Woodshock
    With its gauzily surreal touches, Woodshock reflects the Mulleavys’ romantic flair for texture and embellishment. But as Theresa’s guilt and self-medication mount, along with the film’s profoundly muddled ideas about assisted suicide, the curated trance grows mind-numbing. It’s a death trip with pretty lingerie.
  17. The Houses October Built 2
    These vignettes are only sporadically entertaining, and sap a lot of the narrative momentum before the extended climax — which itself is largely a retread of the first film’s big finish.
  18. Shot
    Kagan employs a purposeful, if at times distracting, use of split screen, along with subjective camera and mind’s-eye visuals to capture the story’s visceral and emotional tension. But it’s the fine acting and the film’s plea for sensible gun control that carry the day.
  19. Stronger
    The movie is a straightforward, even familiar, tale of survival and recovery, but its grave respect for the unique extremity of its protagonist’s ordeal cancels out any impulse toward exploitation. It doesn’t make the mistake of assuming that your tears are its natural entitlement, which is precisely why you might find yourself shedding a few before it’s over.
  20. Kingsman: The Golden Circle
    It pulls off the impressive feat of feeling both hyperactive and lazy. This is hardly the first time a major Hollywood franchise has succumbed to narrative flabbiness, or invested in grand, elaborate world building with the kind of devotion that far outstrips the viewer’s interest.
  21. Battle of the Sexes
    Enjoyable and entertaining.
  22. 1 Buck
    Dufils vividly captures the locale’s seedy, swampy vibe, with its dive bars, shabby homes, ubiquitous convenience stores and underground fight spots. If only there were a more compelling, engaging narrative to match.
  23. Vengeance: A Love Story
    Any hope of prestige is dashed by the heavy-handed, cliché-ridden direction of former stuntman Johnny Martin and his star’s detached portrayal of a guy whose mind is permanently elsewhere.
  24. Infinity Chamber
    Infinity Chamber (renamed from the original “Somnio”) may accurately convey the oppressive perpetuity of its title, but all that repetition in the absence of more inspired plotting results in a payoff that feels inescapably contrived.
  25. Justice
    Richard Gabai’s film is too preoccupied corralling all the genre clichés to come up with anything original or compelling.
  26. The Show
    The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.
  27. The View from Here
    It’s all too sterile and stilted, distracting from the deeply emotional story of love and loss at its core.
  28. Ryde
    This slick and stylish exterior belies a rotting core underneath. Ryde thinks little of its characters or its audience; it's an exercise in misanthropy with a nasty streak of misogyny running through it.
  29. Against the Night
    The director gives the audience a story that takes off in as many directions as the prison corridors, leaving us lost and dazed. But unlike the characters, the viewers never feel a moment of fear.
  30. Clash
    The filmmakers cultivate a dynamic portrait of Egypt, with its dense social, political and religious layers.
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