Los Angeles Times' Scores

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:
16524 movie reviews
  1. The Wave adds credible writing and effective acting to gangbusters special effects, resulting in a white-knuckle experience a bit higher on the plausibility scale than what we're used to from Hollywood versions of the genre.
  2. The operatic tragedy of Marguerite and Julien's plight proves an effectively creepy dramatic engine.
  3. New Orleans locations and stirring tunes lend texture, intermittently breaking through the film's overriding flatness.
  4. Even by the shaggy standards of found footage, The Final Project is amateurish.
  5. Bell proves to be one tough cookie, but she's ultimately taken down by all the stiff, under-developed dialogue and iffy supporting performances.
  6. Colliding Dreams is a film of ideas and a film of history, a thorough and engrossing look at the root causes of the tortured relationship between Israel and the Palestinians.
  7. Irish actress Bolger plays her psychopath with cool, calculating intimidation, while first-time feature director Michael Thelin, sharing screenplay credit with Rich Herbeck, lays a solid foundation of suburban domesticity on which to build all the mounting menace.
  8. As long as there are enemies in Islamic lands, we'll probably have to endure risible time-wasters like London Has Fallen, designed to justify blinkered foreign policy attitudes and stoke jokey hatred.
  9. While the situation seems at times dire, Trapped contains a distinct hopeful streak that is at once defiant and singularly human.
  10. Ava's Possessions is powered by an amusing conceit that configures demonic possession as a metaphor for addiction. But the metaphor alone is not enough to sustain this minor effort, which wears thin over the course of a feature length.
  11. Bursting with a rich blend of timely themes, superb voice work, wonderful visuals and laugh-out-loud wit, Walt Disney Animation Studios' Zootopia is quite simply a great time at the movies.
  12. The only thing that keeps Knight of Cups from terminal artistic overreach as it follows Rick around town is the knockout cinematography of three-time Oscar winner Emmanuel Lubezki, who does superb work showing us contemporary Los Angeles in a most magical way.
  13. There are a few inventive battles on a frozen pond and atop the tiled roof of a temple, but they are so CGI-enhanced as to seem cartoonish, not marvelous.
  14. An effective and unsettling neuro-psychological thriller, They Look Like People creates a creepily mundane sense of dread in its depictions of a schizophrenic's paranoid delusions.
  15. While everyone involved with Backtrack is a polished pro, the movie's tastefulness gets in the way of the suspense.
  16. By turns earnest and profane, the story of three twentysomethings' Sin City sortie contains flashes of wit.... But this road is lined with clichés and blunt dialogue, the emotional shifts all too neatly underlined by Death Cab for Cutie tracks.
  17. A paint-by-numbers indie that barely uses its most vivid hues.
  18. There's a poignant, powerful story lurking at the edges of Jack of the Red Hearts but, as is, the film proves a strained, implausible family drama.
  19. Only Yesterday is a realistic, personal story made universal in a delicate way.
  20. With a stacked cast and skillful filmmaking, Triple 9 proves to be a satisfying crooked-cop heist thriller, imbued with complicated topical issues that last long after the adrenaline rush.
  21. [A] poignant, funny and well-seasoned portrait of autumnal fervor.
  22. The film traces Cernan's career trajectory, going back to his days in San Diego as a hot-shot naval aviator, blending terrific archival footage with contemporary perspectives to quietly poetic effect.
  23. It's little more than an artsy but hollow Lifetime cable movie.
  24. Director Dexter Fletcher ("Sunshine on Leith") keeps things enjoyably hurtling forward, even when the otherwise engaging script by Sean Macaulay and Simon Kelton overworks a cliché, shorthands certain practical and financial matters, or proves a bit one-note.
  25. Crass and macabre, yet big-hearted, it makes a wonderfully adult bedtime story.
  26. By concentrating on the early projects, we get a richer sense of the development of Nichols the artist in his own words and illustrated with photos and extended clips of performances.
  27. It's a treat to see Kiefer and Donald side by side, and both give fine performances. But a pairing this special deserved a story more unique than "reluctant killer reaches for his guns."
  28. Generally leaving the weightier political stuff to others, Mitch Dickman's lively documentary functions as both a handy pot primer and a telling portrait of the volatile, adapt-or-die climate that continues to hover over the newspaper industry.
  29. Directors Jean-François Pouliot and François Brisson fail to organize the material into a coherent story or strike a consistent emotional tone.
  30. The film itself is a bit rudimentary, with amateurish titles, and editing choices that bloat the already extended length, but the interviews with band members and fans are insightful and engaging, with archival footage that truly rocks.

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