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 2.4 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. Priscilla
    With piercing matter-of-factness, Coppola ends this movie, her strongest in more than a decade, at just the right moment.
  2. The Holdovers
    The Holdovers is a flat, phony, painfully diagrammatic movie masquerading as a compassionate, humane one.
  3. The Persian Version
    Keshavarz spins a lot of plates in The Persian Version and we can see the effort, but she keeps them all in the air.
  4. More Than Ever
    This is Krieps’ show, another elegantly virtuosic, intelligent turn that, in this case, imbues sickness with dignity so that every strained grasp for breath feels like a victory for autonomy.
  5. The Pigeon Tunnel
    In truth (there’s that word again), Morris’ movie isn’t so much a debriefing as a very entertaining recruitment tool for the pleasures of Cornwell’s storytelling.
  6. Divinity
    A movie destined for a cult following and subsequent midnight showings, “Divinity” does commit the sin of placing style over substance, but there’s enough of the latter to keep one’s mind spinning along with it, even if it’s all a jumble
  7. The Mission
    In its voices tinged with sorrow and re-examined history, this expertly tuned film is simply pro-introspection: a heavy-hearted look at an unnecessary death and a cultural superiority long deserving of scrutiny.
  8. Silver Dollar Road
    If your recipe for outrage needs a villainous presence, Peck isn’t interested in stoking it that way, and shouldn’t need to. That’s not the oxygen Silver Dollar Road, building off a 2019 ProPublica article by Lizzie Presser, wants to breathe. Rather, it’s the warmth, togetherness and persistence of a family fighting a ruthlessly unfair system, holding onto each other as forces move to expel them.
  9. Dear David
    it is a boring paint-by-numbers ghost movie, a jumble of tropes borrowed from movies like “The Ring,” and a poor facsimile of its influences.
    • 55 Metascore
    • 80 Critic Score
    The Magic Flute
    I am at a loss to understand why this film has been marginalized. Branagh’s "Flute" is a joy.
  11. Anatomy of a Fall
    Triet’s movie is a monument to the ambiguous and unknown, a labyrinth of half-glimpsed causes and vague, sinister effects.
  12. Taylor Swift: The Eras Tour
    One of the pleasures of “The Eras Tour” is the way it destroys the facile notion of a pure individual self. With its labyrinthine arc, jumbled chronology and dazzling changes of tone, milieu and costume, it’s Swift’s ode to invention and self-reinvention, the many different lives she’s lived and faces she’s presented over the course of her career.
  13. The Burial
    Betts, whose first feature was the absorbing monastic drama “Novitiate,” has a gift for subverting and fulfilling expectations at once, and also for turning the strictures of traditional establishments inside out.
  14. Mami Wata
    It’s easy to be reminded of silent film’s who-needs-words heyday while watching Mami Wata, even when the foreboding sound design is doing its part and the actors are delivering their sparely written lines as if their characters’ lives depended on it.
  15. Cat Person
    If anything, the new stuff’s brazenness is truer in tone to what this “Cat Person” clearly wants to be: a slick, snarky, pulverizing horror-comedy rather than the compressed, low-key Mary Gaitskill-meets-Eliza Hittman cringefest that Roupenian’s delicate storytelling conjured with every peek into Margot’s drifting psyche.
  16. Foe
    Everyone here really wants to make something good and moving, but they’re all working so hard to make something out of nothing.
  17. Dicks: The Musical
    “Dicks” can’t maintain that level of performative thrust all the way through; it sags a bit in the middle, as one might expect from making the considerable jump from the stage and through the hoops of major revisions. But the film bounces back toward its back nine.
  18. The Royal Hotel
    It’s all so horribly familiar — even for those who have never traveled, never tended bar, and never found themselves the only female in a roomful of drunken, lonely men. The central terror of Green’s ferociously tense, intelligent movie is the terror of recognition.
  19. She Came to Me
    It’s only October but your Thanksgiving turkey has arrived. It’s called She Came to Me, a mishmash of flimsy, fanciful and far-fetched notions dressed up as a screwball New York rom-com. Given its pedigreed cast and filmmaker, the results are doubly sad.
  20. When Evil Lurks
    This is a film that delights in unspoken terrors and audience misdirection.
  21. The Caine Mutiny Court-Martial
    In The Caine Mutiny Court-Martial, Friedkin holds you rapt with the nimbleness of his camera placement (the sharp cinematography is by Michael Grady), the crispness of Darrin Navarro’s editing and, above all, the initially stiff but ultimately spellbinding rhetorical force of the actors.
  22. The Exorcist: Believer
    The Exorcist: Believer is an exhausting affair, an unrelenting film that attempts to cover up its lack of shock and suspense with a kind of cinematic bludgeoning: a battering delivered via smash cuts, jump scares, overlapping sound design and chaotic camerawork.
  23. PAW Patrol: The Mighty Movie
    Throw in a whole heck of a lot of puns and sand all the edges down so everything is gently charming, inoffensive and just silly enough but not too silly to be annoying.
  24. Reptile
    Reptile, a studiously atmospheric, layer-peeling mystery from director and co-writer Grant Singer, foregrounds Del Toro — playing a calloused detective investigating a young woman’s murder — in a way that makes you want more of him. But also, regrettably, less of movies like “Reptile,” which tries to match its star’s unpredictable magnetism with a forced eeriness, only growing more ponderous and unfocused, like a case getting colder.
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