Los Angeles Times' Scores

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For 16,524 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: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. Dog Eat Dog
    Although it’s an often repellant, uneven film that, in the end, doesn’t amount to a whole lot, there’s something thrilling and a bit liberating about the anarchic vibe that permeates this stylized walk on the wild side.
  2. The Shelter
    Overall, The Shelter is a bit too clever for its own good. The hero’s personal hell is too literal, and the movie as a whole is too slight.
  3. Off the Rails
    [An] excellent documentary.
  4. Apparition Hill
    Apparition Hill is actually a compelling but unnecessarily long-winded sociological study about a group of adults recruited to watch for signs and wonders in a small village in Bosnia-Herzegovina.
  5. Keep in Touch
    The gently affecting Keep in Touch extends its stay a bit too long, stretching the story where it could have been more efficient. But it’s a fine showcase for McPhee’s lovely songs, Bachand’s lead performance, and the assured direction of Kretchmar.
  6. The Charnel House
    While the cast is talented and the tone is classy, The Charnel House never develops any momentum. The movie puts fright on the back burner to tease out a mystery that proves to be too profoundly idiotic to be worth all the bother.
  7. CRD
    Though there’s never a smooth path toward narrative or emotional enlightenment as you watch CRD, Kanadé’s willingness to explore the creative impulse through impish experimentation is amusing and infectious.
  8. The David Dance
    The story of The David Dance might have seemed more timely and vital when first presented as a play in 2003. Today, however, the delayed film version (it was shot in 2009) feels remarkably dated. It’s also logy, stagey and overlong.
  9. Fell, Jumped or Pushed
    For anyone who’s been on an indie film set, Fell, Jumped or Pushed is deeply relatable, and very funny.
  10. Army of One
    The movie’s noisy, busy and not that funny. But there is a sweetness and a cockeyed optimism here. At heart, it’s a salute to American gumption — however misguided.
  11. My Dead Boyfriend
    The script from Billy Morrissette — featuring disappearing narration, awful characters and no humor — is largely to blame, but director Anthony Edwards makes uninspired choices throughout, such as inserting random animated characters and allowing Gina Gershon to do a cartoonish French accent in a supporting role.
  12. All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone
    Featuring footage from the last six decades, All Governments Lie is a timely, convincing documentary that will cause audiences to question what they see and read.
  13. The Ivory Game
    The grim economic realities behind such trafficking are glancingly acknowledged. There’s real impact, though, in the anger and grief of law enforcement officials and conservationists when their tracking leads them to elephant carcasses.
  14. By Sidney Lumet
    One of the achievements of Buirski’s absorbing documentary is that it allows Lumet to remind us, in his own voice, of the passion in his ostensible dispassion — the way he deftly subsumed self-expression within the brisk rhythms of his material and the superb performances of his actors.
  15. Gimme Danger
    The Stooges were postwar kids who took to the stage with fearless, demented exuberance, Iggy writhing half-naked. With Gimme Danger, Jarmusch doesn’t ask him to strip down further. He simply thanks him.
  16. Trash Fire
    Flaming out from the get-go, Trash Fire represents another soggy batch of Southern Gothic horror-comedy from writer-director Richard Bates Jr. that spews out pitch black smoke with little combustible substance.
  17. The Pickle Recipe
    Rose’s pickles might have a pleasant snap, but there’s none to be found in the tired, limp shtick in Sheldon Cohn and Gary Wolfson’s screenplay, which has been choreographed at a lumbering, drawn-out pace by director Michael Manasseri.
  18. Loving
    Loving is an unpretentious film about unassuming real people, but don't let that mislead you. Just as Richard and Mildred Loving ended up overturning the status quo and making American legal history, so this feature on their lives by writer-director Jeff Nichols turns out to be a film of quiet but quite significant strengths.
  19. Trolls
    As infernally sugary as this movie may sound on paper, and however mercenary its commercial intentions, it’s hard to resist its silly, utopian vision of a world where happiness reigns, love wins and the mere sound of Timberlake’s voice carries the promise of salvation.
  20. Doctor Strange
    One of the pleasures of Doctor Strange is the way it both wholly embraces and gently mocks the unapologetic geekiness of the enterprise.
  21. The Eagle Huntress
    As unlikely as it is enchanting, The Eagle Huntress tells its documentary story with such sureness that falling under its sway is all but inevitable.
  22. Hacksaw Ridge
    Gibson has made a movie that is somehow both deeply dishonest and crushingly sincere — and still at war with itself, long after the final shot has been fired.
  23. The Windmill
    Mostly The Windmill is about watching some morally shaky people die horribly. But they do it with such dramatic gravitas that their inevitable eviscerations seem almost profound.
  24. Shangri-La Suite
    Though the movie’s well cast, its central story rarely shakes off the derivative cloak to become involving. But Ron Livingston’s turn as a sorrowful Elvis Presley is a quiet revelation.
  25. An Eye for an Eye
    The rehabilitative power of forgiveness is thought-provokingly explored in Ilan Ziv’s An Eye for an Eye.
  26. New Life
    Although it aspires to be a kind of latter-day “Love Story,” the rote, overly earnest drama New Life exists largely on the surface.
  27. Chief Zabu
    Chief Zabu may have been buried for the past three decades, but this tiresomely talky would-be satire is no treasure.
  28. The Uncondemned
    Its conclusion, and its well-earned message, are more positive and hopeful than even its participants likely ever imagined they would be.
  29. King Cobra
    Slater has some effective moments and Franco excels at a certain kind of scary/funny psycho, but it doesn’t ultimately add up to much as either pulpy trash or exposé.
  30. I Was a Teenage Wereskunk
    "Wereskunk” only wavers when it slips from the style of the era, with the usage of digital special effects or the odd modern reference. When it stays in the unique lane it’s established for itself, it’s plenty of silly retro fun.
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