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. For Here or to Go?
    In attempting to address its many concerns, the film’s agreeable, lightly satirical tone gives way to increasingly didactic dialogue and a stalling pace.
  2. Ghost in the Shell
    Your head might not be spinning as you exit the theater, but your senses will be deeply and thoroughly ravished.
  3. The Blackcoat's Daughter
    Eventually, The Blackcoat’s Daughter connects the pieces and ends strongly, though Perkins smartly spends more creative energy on crafting creepy situations than on pointing toward the payoff.
  4. Carrie Pilby
    Carrie Pilby is a studiously quirky affair, but only the natural charm of Powley salvages that tone. The film swings wildly from melancholy to wacky, never truly melding the two; it somehow also lacks verve and energy.
  5. The Zookeeper's Wife
    An emotional experience that is straight-ahead but satisfying.
  6. The Discovery
    Director Charlie McDowell, who co-wrote the film with Justin Lader, sidesteps the material’s more intriguing ideas, ultimately settling for a conventional story about love, loss and second chances. The disappointment comes not in the lack of answers but in the relative absence of audacity in tackling such a trippy concept.
  7. The Boss Baby
    Mistaking cliché for comic insight, and lacking the kind of conceptual rigor that a Pixar intern could probably muster, the script falls back repeatedly on the kinds of assumptions about human behavior that are meant to be cute and relatable to grown-ups and kids alike, but which instead offer an unflattering glimpse into the movie’s lazy, cynical soul.
  8. Life
    Life is efficiently constructed to unsettle audiences. It demonstrates both the pleasures and the limitations of doing a skillful job with familiar genre material.
  9. Diamond Cartel
    The largely Russian- and Kazakh-speaking cast is so incongruously dubbed into English it evokes an old Japanese monster movie.
  10. Walk of Fame
    Aggressive and aggressively unfunny, Hollywood-set comedy Walk of Fame hates its characters and its audience — and the feeling is mutual.
  11. Frantz
    It is a cunningly crafted fiction, full of visual artifice and narrative sleight-of-hand, that by the end could hardly feel more sincere.
  12. American Anarchist
    Although it occasionally feels as if the thoughtful Powell (who unexpectedly died last summer) is being forced into a repentant corner, the film remains a penetrating case study in taking ownership of one’s actions.
  13. Dig Two Graves
    There’s a lived-in quality to Dig Two Graves that’s all-too-rare for low-budget movies in this genre.
  14. Bokeh
    The drama’s power may dwindle, yet its end-of-the-world scenario remains oddly recognizable.
  15. Prevenge
    While the plot is skimpy, the performances are rich, which turns Prevenge into a series of satirical sketches, dissecting the social dynamics between a mother-to-be and the various men and women who think they have an advantage over her.
  16. CHIPS
    Its principal ambition — basically, to make movies like “The Dukes of Hazzard” and “Starsky & Hutch” look like rigorous masterworks of screen-to-screen adaptation by comparison — may be as shallow as the gutter. But from time to time, the movie does throw off its own crazy, moronic verve.
  17. Wilson
    Wilson asks, can a male middle-aged crank get a sentimental education? If you even care whether that’s possible, Craig Johnson’s film adaptation of Daniel Clowes’ 2010 graphic novel offers a reasonably amusing case study in how that might transpire.
  18. Saban's Power Rangers
    I feel more qualified than usual to announce that Saban’s Power Rangers (Saban clearly never learned to share) is a witless and cobbled-together pile of junk, and I mean that not as an insult so much as an assurance of brand integrity.
  19. All Nighter
    It’s all feather-light, low-stakes stuff where it’s about the journey not the destination, and not judging a book by its cover. It skates by on the charisma of its stars but evaporates on contact.
  20. Fittest on Earth: A Decade of Fitness
    The commentators speak about the enjoyment of watching these athletes suffer, but “Fittest on Earth” deftly tracks the emotional trajectory as well. Plus, the slow-motion shots of gloriously muscled bodies in peak physical form will definitely inspire a trip to the gym.
  21. The Settlers
    Smart, thorough and thoughtful, this disturbing film unfolds like a slow-motion nightmare that has taken half a century to fully reveal itself, a trenchant examination that deserves to stand next to compelling Israeli documentaries on similar themes, including “The Law in These Parts” and “The Gatekeepers.”
  22. The Last Laugh
    At times haphazard but always involving, The Last Laugh confronts a question that sounds anachronistic in today's anything-goes world:
  23. They Call Me Jeeg
    Though not the most sure-footed of superhero entries, as an offbeat perspective on the genre, They Call Me Jeeg merits an enthusiast’s look.
  24. Suntan
    The story might have had some thematic heft if we knew or cared anything about the characters. But all we can glean about the disastrous Kostis is that he’s had hard times, while Anna is a total cipher.
  25. The Devil's Candy
    What makes The Devil’s Candy a standout is how well-developed these characters are.... More importantly, Byrne is as skilled as ever at constructing sequences at once bizarre, suspenseful and oddly beautiful.
  26. Atomica
    Dagen Merrill’s thriller, made under the Syfy channel’s banner, is strictly cheap-TV genre fare that might have passed muster as an average episode of “The Outer Limits,” but over feature length simply feels slipshod and dull.
  27. Betting on Zero
    It all adds up to a timely, provocative and absorbing tale of money, power and a search for the truth.
  28. Mean Dreams
    Featuring one of Bill Paxton’s final performances, Mean Dreams is a painful reminder of the actor’s great talents.
  29. Song to Song
    Stick with Song to Song, and Malick’s elusiveness becomes surprisingly direct. Long, tense conversations are reduced to a few piercing exchanges. Difficult questions and answers are distilled to their philosophical essence. People clash, break apart, fall down, get back up and slowly, tentatively reunite.
  30. After the Storm
    Kore-eda is too scrupulous a filmmaker to prescribe Ryota an easy redemptive arc or happy ending. Nonetheless, the lingering optimism that suffuses After the Storm’s closing scenes is honestly achieved; nothing on the surface has changed, but on a deeper level something has.
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