Los Angeles Times' Scores

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For 16,522 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 16522
  2. Mixed: 5,808 out of 16522
  3. Negative: 2,017 out of 16522
16522 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Trespass Against Us
    Smith may have some ways to go as a feature filmmaker, but he has given us a world of such grottily realized depravity that it feels like a story unto itself.
  8. Antarctica: Ice and Sky
    The visuals and concepts presented here may be compelling and vital, but director Luc Jacquet (“March of the Penguins”) weaves them together with too little urgency, propulsion and, ultimately, unique sense of purpose.
  9. Split
    Split doesn’t just revive Shyamalan’s career; it resurrects his brand.
  10. Sea of Hope
    The film captures the dazzling beauty of its ocean locales, both above and beneath the surface, while soberly reminding us of the crucial ecological issues — and solutions — at hand.
  11. Monster Trucks
    On first glance, Monster Trucks looks so-bad-it’s-hilarious, and it’s a bit heartening to report that it’s not quite that. The monsters are cute and charming, the production value is high, and the trio of Lennon, Levy and Lowe bring just enough quirk to brighten up the humorous beats.
  12. Sleepless
    A stylish surface goes only so far to disguise the fact that we’re being sold some pretty cut-rate goods.
  13. 48 Hours to Live
    There’s more focus on the dull mystery and predictable story twists, and not nearly enough choreographic ecstasy on-screen.
  14. The Snare
    Writer-director C.A. Cooper’s The Snare is admirably artful and oblique in putting its own twist on the haunted-house story, but it’s derivative of much better psychological suspense films and is obnoxiously unpleasant to boot.
  15. Top Coat Cash
    Like a fog that corrupts your ability to be entertained, Top Coat Cash is genre amateurishness that neither thrills nor makes sense.
  16. The Ardennes
    The Ardennes is an odd mixture of glum-chic style and emotional curiosity, a story of brotherly tensions that primarily comes off like a movie posing as a story of brotherly tensions.
  17. Attack of the Lederhosen Zombies
    It’s not great. It’s not terrible. It’s really not anything.
  18. Bad Kids of Crestview Academy
    Animated comic book panels hint at an attempt at style, but bad camerawork captures bad performances of bad dialogue.
  19. Claire in Motion
    For the most part, nothing about Claire in Motion seems overly calculated. It knows precisely where it’s going, but it’s also wise enough to leave that destination open-ended.
  20. The Crash
    While writer-director-editor Aram Rappaport draws effectively weighted performances (especially from the always committed Driver) and maintains a crisp pace, he’s less adept at balancing those big picture thriller elements with Clifton’s personal journey, which ultimately serves to rob both aspects of greater potency.
  21. 100 Streets
    It’s six or so characters in search of a meaningful movie.
  22. We Are the Flesh
    Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
  23. The Bye Bye Man
    The Bye Bye Man is cheesy, but it feels knowingly cheesy, with a heavy dose of wink-wink, nudge-nudge from the filmmakers.
  24. The Book of Love
    For a film thats trying very hard to make you feel, it sure leaves you cold.
  25. Reset
    This is one documentary, as “La Danse” was before it, that is a thing of beauty in and of itself.
  26. One Piece Film: Gold
    Viewers unfamiliar with One Piece may find themselves lost in places, as the filmmakers treat the regular characters and their relationships as givens, with no introductions or explanations. Fans will find the outré settings, bizarre characters, over-the-top fights and slapstick comedy they enjoy.
  27. Underworld: Blood Wars
    The fifth film in the series still executes creative kills; if only the same attention were paid to the rest of the movie.
  28. Hickey
    A generic coming-of-age comedy that feels inextricably stuck in the ’90s, Hickey serves as the feature debut of TV commercial director Alex Grossman and plays like a never aired UPN series pilot.
  29. Videophilia (and Other Viral Syndromes)
    In its loose, hallucinatory narrative, we gain a sense of the nightmares caused by a loss of spirituality and physical connection. It may leave you questioning if the Mayans were right all along.
  30. Pitchfork
    Director/co-writer Glenn Douglas Packard tries to bring a little style and color to the film by relying on off-kilter camera angles and cartoonish supporting characters. But he mostly stays within the narrow parameters of the “knocking off generically attractive youngsters one-by-one” movie, never getting campy enough, bizarre enough or satirical enough.
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