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. Don't Knock Twice
    The best reason to see Don’t Knock Twice is the volatile chemistry between genre favorites Katee Sackhoff and Lucy Boynton.
  2. War on Everyone
    It’s pleasurable enough to see Skarsgård and especially Peña, so often cast as a genial second banana, taking pride of place in their own vehicle, even if this one fails to make the most of their considerable chemistry.
  3. Midsummer in Newtown
    The talking-head commentary, however firsthand, personal and eloquent, can be repetitious, while the filmmaker leaves unnecessary basic information gaps in the story he’s telling. But Midsummer in Newtown is nonetheless an affecting chronicle.
  4. Wheeler
    It’s a terrific film that deserves far more attention than its low-profile release is likely to receive.
  5. Confidential Assignment
    South Korean filmmaker Kim Sung-hoon has clearly done his homework while injecting the action sequences with a terrific kinetic energy.
  6. Resident Evil: The Final Chapter
    Boasting a higher body count than its IQ, Resident Evil: The Final Chapter is violent, idiotic fun.
  7. I Am Michael
    Kelly, who is credited with Stacey Miller for the screenplay, is shrewd enough to keep the movie from being a dramatized op-ed piece about betrayal, instead making roiling uncertainty, loneliness and melancholy the marquee emotions.
  8. Fall
    Murphy’s quietly precise performance ultimately can’t overcome the film’s chilly gravity and unsatisfying finale.
  9. They Call Us Monsters
    There’s little doubt prison reform needs to address the severe effects of locking up kids for life, but They Call Us Monsters feels like a well-meaning skim rather than an impassioned, expertly reasoned plea for mercy.
  10. Paris 05:59: Théo & Hugo
    Filmmaking duo Olivier Ducastel and Jacques Martineau have crafted a film that articulates the ability for sex to produce just a little bit more love in the world, for a moment or an eternity.
  11. Lost in Florence
    A seemingly tourist-bureau-sanctioned travelogue posing as a romantic drama.
  12. Yu-Gi-Oh!: The Dark Side of Dimensions
    The flashy battle sequences will delight “Yu-Gi-Oh” fans. Viewers not familiar with the game will themselves be hopelessly lost.
  13. Get the Girl
    A staged kidnapping isn’t the only thing that goes from botched to worse where the tone-deaf black comedy-thriller Get the Girl is concerned.
  14. Kung Fu Yoga
    By the time it all culminates in a Chan-led classic Bollywood production number, the cuteness factor may have been pushed to its limit, but good luck trying to stop that goofy smile from spreading across your face.
  15. The Sunshine Makers
    This documentary meanders a bit as it goes between time periods, but it’s never less than entertaining and illuminating.
  16. Strike a Pose
    It’s a loving, honest portrait of these men who were world-famous for a bright moment, and most importantly, what happens after the limelight goes away.
  17. Sophie and the Rising Sun
    There’s a clumsy, soapy tepidness to the procession of plot points, but within individual scenes, the actors pierce the genteel surface.
  18. Gold
    Without its lead, whose full-throttle portrait is at least a burning flame, Gold wouldn’t work on any level.
  19. The Salesman
    The world of The Salesman isn’t quite as intricately imagined as some of its predecessors, and the story’s sleuthing element, while absorbing, often feels more narratively expedient than germane. But if the setup is creaky, the payoff, when it arrives, is a thing to behold.
  20. A Dog's Purpose
    The film has all the emotional resonance of a dog-themed novelty coffee-table book. Adorable, but ultimately forgettable.
  21. Alone in Berlin
    Alone in Berlin is ultimately hobbled by its own cinematic inertia, its inability to reimagine the past with the kind of intensity that would also speak to the present.
  22. Worlds Apart
    It’s an often tender, affecting film that slowly creeps up on you — then completely takes hold.
  23. My Father Die
    My Father Die is all provocation and no substance, and therefore completely meaningless.
  24. Saving Banksy
    The road to hell, the saying goes, is paved with the best of intentions, and that is very much the case with the complex art world conundrum explored in the lively, involving documentary Saving Banksy.
  25. The Axe Murders of Villisca
    The Axe Murders of Villisca never really comes to much, perhaps because its focus is too diffuse. The scares are low, and the plot under-baked.
  26. Sailor Moon R the Movie: The Promise of the Rose
    Earlier English translations soft-pedaled the nature of Fiore’s affection for Mamoru. The lively new version is closer to the original, and suggests Fiore’s feeling are more passionate than fraternal.
  27. Detour
    What’s painfully clear is that all the artfully composed shots, hinky situations and extra conceptual surprises can’t make this Detour all that compelling beyond its crisp artifice.
  28. Staying Vertical
    Its title a sly reference to what distinguishes men from beasts, Staying Vertical hinges on the tension between primal instincts and socially proscribed behavior. Guiraudie isn’t just trying to decimate sexual taboos; he is also taking gently comic aim at the overly rigid roles into which people tend to lock themselves.
  29. Bakery in Brooklyn
    Director Gustavo Ron and co-writer Francisco Zegers fill the movie to bursting with plot, turning what might have been a delightfully airy cream puff of a film into a soggy disaster.
  30. Doobious Sources
    While the fake news angle is admittedly a timely one, the film’s ultimate dubious achievement is its remarkable ability to make “Dude, Where’s My Car?” feel like vintage Kubrick.
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