Los Angeles Times' Scores

Select another publication »
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
view
per page
  1. The Ataxian
    More unity of style would have made a better final product, but Kyle’s story — coupled with vibrant cinematography from Schlanser — is strong enough to keep audiences engaged and moved throughout the brief running time.
  2. Solace
    The plot of Solace is ultimately too generic — and too silly — to take seriously, which is probably why the film’s taken so long to come out. But it has style, and throwback appeal.
  3. A Kind of Murder
    The story remains an academic argument, struggling to pierce the handsome surface.
  4. Slash
    The film is a respectful analysis of burgeoning sexuality, the sometimes embarrassing missteps that come along with figuring it out, and exploring that all through fiction.
  5. The Hollow Point
    The Hollow Point is all hollow, no point.
  6. Neruda
    Although informed by the busy workings of history, politics and personal affairs, Neruda proceeds like a light-footed chase thriller filtered through an episode of “The Twilight Zone,” by the end of which the audience is lost in a crazily spiraling meta-narrative. Who exactly is the star and author of that narrative is one of the film’s more enticing mysteries.
  7. Collateral Beauty
    This movie doesn’t rise to the level of so-bad-it’s-good. But no less impressively, perhaps, it’s just bad enough that you actually wish it were worse.
  8. Fences
    Every moment on screen may not be enthralling, but the moments that are are such knockouts they make the enterprise essential viewing.
  9. Barry
    In some ways, Barry the film takes its personality from Barry himself. Always pleasant and companionable but a little pro forma in its early going, it gains in texture and interest as Obama's life and his reaction to it get more complex.
  10. Rogue One: A Star Wars Story
    A swiftly paced, rough-and-ready entertainment that, in anticipating the canonical events of “A New Hope,” manages the tricky feat of seeming at once casually diverting and hugely consequential.
  11. 808
    Everything you ever wanted to know — or perhaps never knew you wanted to know — about the wildly influential Roland TR-808 drum machine is laid out with entertaining, if exhaustive, brio in the documentary 808.
  12. Accidental Courtesy: Daryl Davis, Race & America
    It may lack focus in its approach to its subject, but Davis’ compelling character and powerful message keep the audience engaged.
  13. The C Word
    While the information presented might not come as news to many, the way that O’Hara synthesizes the massive volume of it into a personal story of herself and Servan-Schreiber, is immensely captivating and persuasive.
  14. Blood Brothers
    It’s hard to recommend Blood Brothers, which is mostly unpleasant and shrill. But it is unusual enough to suggest that Prendes’ next film might be better.
  15. Confessions of a Womanizer
    Somehow, despite the sexist, foul-mouthed rancor, there are messages to be found about the false promises of toxic masculinity and learning to be the person you want to be without repeating the sins of your parents. Though it’s rough going to get there.
  16. Best and Most Beautiful Things
    Smith is certainly a worthy advocate for the mainstreaming and acceptance of “outcasts” or “others.” Unfortunately, Zevgetis doesn’t dig deeply enough here.
  17. Sword Master
    Slick and silly, Sword Master rarely reaches the thrilling heights of the many kinetic twirl-and-slice epics directed by its producer, the legendary Tsui Hark.
  18. The Brand New Testament
    Again and again, Van Dormael delights in finding romantic solutions to existential problems, in forging the kinds of topsy-turvy emotional connections between his characters that enable them to overcome their natural impulses toward suspicion, hostility and even violence.
  19. Sugar Mountain
    Pretty but oh-so-dumb, Sugar Mountain is the cinematic equivalent of a himbo.
  20. Stevie D
    The borrowed concept is all it has going for it, and at nearly two hours it stretches the conceit and the performers far beyond their range. It’s a minor effort overly indebted to its references.
  21. Land of Mine
    Crisply and efficiently put together by writer-director Zandvliet, Land of Mine has the inherent edge-of-your-seat concern about what kind of damage the bombs will inflict on which of these boys, but it is the psychological qualities of the situation that hold the greatest interest.
  22. La La Land
    For a movie that all but demands that you swoon into its arms, La La Land doesn’t always seem to know exactly how to surrender to itself.
  23. Kill Ratio
    Kill Ratio is a laughably inept political thriller that would have been right at home on the USA Network lineup circa 1990.
  24. I Am Not Your Negro
    What makes I Am Not Your Negro a mesmerizing cinematic experience, smart, thoughtful and disturbing, goes well beyond words.
  25. Abattoir
    Ultimately, this film has a memorable villain and a stunning location, and not much else.
  26. Harry Benson: Shoot First
    As the intriguing documentary Harry Benson: Shoot First demonstrates, the fact that an art-for-art's sake modus operandi is alien to Benson makes his work and the personality and philosophy behind it more compelling than they would otherwise be.
  27. Contract to Kill
    Contract to Kill looks remarkably cheap for a film whose characters wear Rolexes and take private planes. The money also wasn’t spent on the script from writer-director Keoni Waxman, which confuses a stream of expletives for wit.
  28. Old Stone
    [A] stunningly assured, darkly gripping first feature.
  29. Beyond the Gates
    Beyond the Gates is more imaginative than frightening, and Stewart and co-writer Stephen Scarlata take too long to get to the good parts, killing time with long dialogue scenes where the characters pause interminably between lines.
  30. Frank & Lola
    Ross is to be commended for taking chances on his first outing. He delivers grown-up shivers with a strong cinematic sensibility. But however suspensefully the score groans and cries, the emotional stakes dwindle with each overemphatic narrative curve.
Page:

Top Trailers

See all »
See all trailers »