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. 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.
  2. Fences
    Every moment on screen may not be enthralling, but the moments that are are such knockouts they make the enterprise essential viewing.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Sugar Mountain
    Pretty but oh-so-dumb, Sugar Mountain is the cinematic equivalent of a himbo.
  14. 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.
  15. 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.
  16. 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.
  17. Kill Ratio
    Kill Ratio is a laughably inept political thriller that would have been right at home on the USA Network lineup circa 1990.
  18. I Am Not Your Negro
    What makes I Am Not Your Negro a mesmerizing cinematic experience, smart, thoughtful and disturbing, goes well beyond words.
  19. Abattoir
    Ultimately, this film has a memorable villain and a stunning location, and not much else.
  20. 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.
  21. 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.
  22. Old Stone
    [A] stunningly assured, darkly gripping first feature.
  23. 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.
  24. 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.
  25. Burn Country
    There’s plenty of intelligence and atmosphere in play here.... But the prevailing tone is of pressure applied and nothing released, a genre exercise that plays as educational rather than exhilarating.
  26. The Earthquake
    Sporadic dips into melodrama, some on-the-nose dialogue and acting, and an occasionally intrusive score hinder but don’t negate this ambitious film’s power and conviction.
  27. All We Had
    Holmes’ helming is unremarkable — unlike her and Owens’ acting, which is excellent.
  28. Office Christmas Party
    The greatest strength of Office Christmas Party is its casting. If you’ve got fabulous weirdos Kate McKinnon and T.J. Miller in lead roles, there are bound to be more than enough laughs.
  29. The Founder
    [Hancock] turns the unlikely subject of a fast-food chain into a quasi-religious satire, a parable of American striving and, ultimately, a study of artisanal integrity gradually caving in to commercial compromise.
  30. Incarnate
    Dense with plot and mythology, the film is refreshingly unpredictable — if only because guessing what comes next would require understanding what the hell is going on.
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