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. Retake
    A fine Watkins brings quiet depth and pathos to the buttoned-up, tightly wound Jonathan, while Graye proves an appealingly game and sexy counterpart.
  2. Two Lovers and a Bear
    Two Lovers and a Bear is above all thrillingly cinematic, even when its elements of lived-in intensity and jokey fantasy refuse to coalesce.
  3. Lost & Found
    A sporadically fun, heartfelt ride whose script by director Joseph Itaya and Erik Cardona is filled with too many broad strokes, faux close calls, plot conveniences and questionable story points to feel fully baked.
  4. Between Us
    The loose style of the film is held together by the strong performances from the leads and supporting actors alike.
  5. The Autopsy of Jane Doe
    The Autopsy of Jane Doe is sometimes too low-key, favoring spooky atmosphere and slow-drip storytelling over visceral kicks. But as an acting showcase, the film’s a winner, getting plenty of juice from the performances of two reliable pros.
  6. Arsenal
    Despite attracting some top-drawer talent, “Arsenal” is a brutally unpleasant, bottom-of-the-barrel crime drama that unsuccessfully attempts to drown the terrible dialogue and pedestrian direction with buckets of gushing blood.
  7. Railroad Tigers
    Instead of a grand lark of fast fists and derring-do, we get a lumbering, choppy voyage of minimal excitement.
  8. Paterson
    What’s magical about Paterson — and what may frustrate those seeking a tidier, prosier experience — is its refusal to settle for clear answers.
  9. 20th Century Women
    The beauty of Bening’s performance lies in those marvelously suggestive layers — all the delicate, tendril-like emotional possibilities that she manages to tuck into the margins of any given moment.
  10. Why Him?
    The biggest problem with Why Him? though, isn’t him, it’s her. Stephanie is so underwritten that even though these men are competing ruthlessly over her, she drops out of the story completely. She’s the center of attention, but she’s a void. That’s not the fault of the winsome Deutch.
  11. A Monster Calls
    "Monster" is almost too ambitious to be completely realized. But when it works, which is most of the time, its story has a power which lingers in the mind.
  12. Hidden Figures
    The film may not be restrained but stars Taraji P. Henson, Octavia Spencer and Janelle Monáe are powerfully effective and its little-known true story is so flabbergasting that resistance is all but futile.
  13. Live by Night
    The movie is handsomely mounted with upscale production values, but it feels sluggish and disjointed.
  14. Silence
    Building implacable dread and tension from scene to scene, the story is as simple as its underlying ideas are endlessly complex.
  15. I, Daniel Blake
    When I, Daniel Blake regrettably piles it on at the end, it’s Loach growing weary of humanizing details and desperate to shake you up with consequences, didacticism and speechifying. It’s the finger-pointer in him, but as this movie frequently shows in its best moments, he’s still a practiced veteran at open-arms affection for the dignity of the downtrodden.
  16. Toni Erdmann
    Ade has an unusual gift for planting more than one idea in each frame; I don’t think there’s a single one of the movie’s 162 minutes that can be reduced to a single emotional beat or narrative function. That hefty running time isn’t a sign of indulgence, but integrity.
  17. Julieta
    The movie may not have the audacity and emotional grandeur of a new Almodóvar masterpiece, but in every particular — its seamless manipulation of time, its sly infusions of comedy, its expert direction of actors and, yes, its fabulous wallpaper — it confirms his mastery nonetheless.
  18. Sing
    It's a cute movie with genuinely funny moments (keep an eye out for the koala car wash), and some great tunes to boot.
  19. Assassin's Creed
    Assassin's Creed will be polarizing, but it's fascinating as an entry in Kurzel's oeuvre. It is singularly his film — both in style and the obsession with hubris, power and violence.
  20. Passengers
    Part outer-space romantic comedy, part science-fiction thriller, Passengers leave us feeling we’ve been taken for a ride.
  21. Patriots Day
    An effective, efficient and quite dramatic examination of the events surrounding the 2013 Boston Marathon bombing that killed three and injured 264, Patriots Day is a tribute to people who earned it: the investigators and first responders who ensured that a horrible situation did not become even worse.
  22. American Wrestler: The Wizard
    It may be by-the-book, but American Wrestler is a story well worth telling.
  23. The Legend of Ben Hall
    Martin and Coffa may bear a strong physical resemblance to their real-life counterparts, but their contemporary-sounding line delivery has all the dramatic heft of a Foster’s beer commercial.
  24. Boy 23: The Forgotten Boys of Brazil
    Input from historians, political scientists and other observers, as well as archival footage and photos, and impressionistic reenactment bits, round out this resonant, not untimely portrait of a dark and frightening chapter in Brazil’s past.
  25. The Boatman
    Despite an atmosphere of simmering violence and criminal wrongdoing, Boatman is more art film than action film; deliberately paced, skillfully shot, emotionally challenging.
  26. City of Dead Men
    While City of Dead Men has an appealingly polished look and uses its unusual locations thoughtfully, it teeters on the edge of pretension.
  27. Sins of Our Youth
    With its saturated colors, swirling camerawork and aggressive techno beats, Sins of Our Youth is rarely dull, but it lacks the emotional resonance that one expects from a film with the death of a child at its heart.
  28. Two Weeks to Go
    Two Weeks to Go is not a movie, it’s a sketch of a character study or a possible outline for a future project. It’s most definitely self-indulgent drivel.
  29. Virtual Revolution
    Cinematic life...is in short supply in this ambitious but leaden cautionary tale, which tries to pep things up with energetic fight scenes in the avatar worlds, but can’t escape the wooden acting and zipless storytelling.
  30. The Bad Kids
    This isn’t just a necessary or powerful story; it’s a well-told one.
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