Los Angeles Times' Scores

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For 16,523 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 16523
  2. Mixed: 5,808 out of 16523
  3. Negative: 2,017 out of 16523
16523 movie reviews
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  1. Baskin
    Baskin won't be for everybody, but it's well made and imaginatively upsetting.
  2. The Dark Horse
    If its wobbliness doesn't always serve its commanding central performance, the movie does mark a sensitive, low-key approach to outsiders of any kind, one that legitimizes their struggle without selling them as ready-made saints.
  3. The Girl in the Photographs
    There isn't enough mystery and ambiguity around the murders to create a sense of fear or dread, yet there's something rather effectively creepy and compelling, with its retro thrills and chills
  4. Notfilm
    For all its gifted collaborators, "Film" was not a match made in heaven. But for moviegoers who care about film not just as a title, Notfilm can be unreservedly recommended.
  5. Kill Your Friends
    The movie — glibly admiring of its hero's awfulness — is tone-deaf about genuine satire, assuming anything ugly (insults, nihilism, bloody violence) qualifies as sharp cultural commentary as long as the unceasingly venal, knowing narration explains it all for us.
  6. Rescue Dogs
    There just aren't enough rescue dogs in the world to save "Rescue Dogs," a shrill, yappy live-action comedy that proves considerably more annoying than adorable.
  7. Pandemic
    Pandemic proves serviceably frightening, if sporadically gory, maximizing tension derived from unknown dangers lurking in dark corridors and behind closed doors.
  8. April and the Extraordinary World
    This is one grand adventure, and, animated or not, those are always welcome.
  9. Miles Ahead
    The sophistication gap between the character Cheadle has created and the film that contains him is so great it begins to feel like you're watching two different stories that have been unaccountably spliced together.
  10. Everybody Wants Some!!
    The ostensible college comedy Everybody Wants Some!! is like a stream that looks shallow but once you're in the middle of it reveals an unforeseen depth.
  11. Valley of Love
    It's illuminating to see Huppert and Depardieu in a different mode, and Huppert brings a delicate physical and emotional fragility to her role. These two are fantastic, and they're fantastic together.
  12. Born to be Blue
    By reducing Baker's story to just a couple of pivotal years, Budreau makes every moment matter, including a tense final scene that treats the preparation for a performance like a duel at high noon. Like Baker himself, Born to Be Blue finds drama in minimalism.
  13. Take Me to the River
    Take Me to the River reaches its end sadder and wiser if not satisfactorily complete as a psychodrama. But Sobel thrives on the unevenness, and it gives his admirably off-putting wade into fractured-family waters its own specialized charge.
  14. No Letting Go
    No Letting Go has all the subtlety of an after-school special, and the performances feel like they're from a public service announcement about mental illness.
  15. Mapplethorpe: Look at the Pictures
    In the new documentary Mapplethorpe: Look at the Pictures, directors Fenton Bailey and Randy Barbato do an ultra-fine job tracing a born provocateur's commitment to his calling.
    • 79 Metascore
    • 80 Critic Score
    Mountains May Depart
    Sequences in which Tao helps an ill friend and deals with the death of a parent are as finely staged and acted, as sorrowful and transcendent, as anything ever to grace the screen.
  17. Lolo
    This strained, often crass comedy traffics in broadness and inconsistency far more than anything smart, clever or dimensional. That might be more forgivable if the film was at least funny. It's not.
  18. They're Watching
    The movie doesn't do justice to a promising premise. A scarcity of laughs and scares limits this property's curb appeal.
  19. I Saw the Light
    I Saw the Light is solid but not spectacular, a retelling of a sad story that never catches fire.
  20. Jane Wants a Boyfriend
    "Jane's" affecting emotional core and cathartic conclusion carry the day.
  21. Get a Job
    The payoff is sporadically rewarding at best.
  22. Fastball
    You don't have to be a baseball fanatic or for that matter a historian or a physicist to appreciate Fastball.
  23. My Big Fat Greek Wedding 2
    The sequel is a little like a bear hug from a beloved old relative — the embrace is too tight, the perfume is too strong, but ultimately it still leaves you feeling good inside.
  24. Batman v Superman: Dawn of Justice
    The director, a strong technician whose slam-bang emphatic, occasionally operatic style seems made for comic book adaptations, has been well-served by an adept script co-written by Chris Terrio (an Oscar winner for Ben Affleck's "Argo") and David S. Goyer, which raises a number of interesting issues.
  25. Thank You for Playing
    Make no mistake: This film is a tear-jerker, taking an intimate look at one family's heartbreak and how their art moves people.
  26. Too Late
    Hauck, with a strong assist from Bill Fernandez's clever, well-modulated Techniscope lensing, impressively choreographs the movie's continuous takes with a nice balance of intimacy and breadth. Hauck's a talent to watch.
  27. All the Time In The World
    Although their extreme staycation is obviously not everybody's idea of a swell time, the bracingly gorgeous images and meditative serenity still offer a vicarious respite from all those urgent headlines and deadlines — no bear spray required.
  28. The Dog Wedding
    The Dog Wedding is rather a minor effort, and the amateurish acting of the supporting cast and stilted energy are hard to forgive.
  29. Burning Bodhi
    The cinematography, by David J. Myrick, is lovely and luminous, but the story itself lacks insight or deep emotion.
  30. Remember
    While its flaws are considerable, the Holocaust-themed thriller Remember benefits mightily from a quietly commanding Christopher Plummer performance that almost makes you forget the wonky plot logic.
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