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. Imba Means Sing
    Filled with humanitarian good cheer — and enough costume changes to rival a Diana Ross concert — Imba Means Sing delivers a heartwarming song of hope for the future.
  2. Every Thing Will Be Fine
    The visually stirring format proves unable to lift the story and performances out of a prevailing, airless stupor.
  3. Killing Them Safely
    With the intensified focus on use of force in police departments, the unsettling documentary Killing Them Safely couldn't be timelier.
  4. Youth
    Youth is a film that goes its own way. Quixotic, idiosyncratic, effortlessly moving, it's as much a cinematic essay as anything else, a meditation on the wonders and complications of life, an examination of what lasts, of what matters to people no matter their age.
  5. The Lady in the Van
    A delicately written, boisterously performed movie about the difficult people who dare us to care about them.
  6. Janis: Little Girl Blue
    From this pastiche Joplin emerges as we've never seen her before, articulate, ambitious, torn between her wild self and her desperate need for stability.
  7. Hitchcock/Truffaut
    Smart, thoughtful and elegantly done, Hitchcock/Truffaut is more than an authoritative look at the careers and interpersonal dynamics of directors Alfred Hitchcock and Francois Truffaut, a pair of unlikely soul mates; it's also, as director Kent Jones intended, a love letter to film itself, to the value and lure of the cinematic experience.
  8. Macbeth
    It's the gripping and verbally deft cast, led by a swaggering, formidably brooding Fassbender and a searing and poignant Cotillard, that may emerge most memorable here.
  9. Rock in the Red Zone
    Through a first-person narration, Bialis makes much of the film about herself. Her account certainly turns the daily travails of living in Sderot into something tangible for viewers. But at the same time, her life-experience narrative proves a distraction and a disservice to the promise of the film's title.
  10. Like You Mean It
    The last gasps of a romantic relationship between two very different men are intimately and delicately charted in the beautifully immersive, if decidedly somber, Like You Mean It.
    • 61 Metascore
    • 80 Critic Score
    Bolshoi Babylon
    These twin tracts of darkness and light, the sordid and the sublime, quite effectively submerge the viewer into a closed world.
  12. Censored Voices
    Censored Voices is a soul debriefing of sorts. The soldiers' tales of killing the captured and uprooting entire villages lead them to question whether the war was more about expansion than survival.
  13. Iraqi Odyssey
    With the mixing of the sprawling family tree with geopolitical imbroglios already proving daunting for viewers, the filmmaker exacerbates the confusion by eschewing a linear chronology.
  14. Sembene!
    A richly crafted documentary that serves as an enlightening tribute to the filmmaker who masterfully tapped into the medium's wide-reaching socio-political potential.
  15. Submerged
    Even the movie's brighter spots are undermined by ineptly staged action sequences, flatly functional dialogue and stock characters. Ultimately, Submerged is all wet.
  16. Theeb
    it's Nowar's ability to tell his tale so firmly from the viewpoint of his quickly growing-up protagonist, and to elicit so unforced a performance from Eid, that may be the most impressive achievement of this intimate, well-paced film.
  17. The Barkley Marathons: The Race That Eats Its Young
    At a certain point, though, the movie runs out of eccentricity capital and becomes just another contest documentary about determined participants — in this case, mostly obsessive young white men — and the well-worn narrative of defeat or accomplishment.
  18. The Wonders
    Letting questions remain unanswered and silences go unfilled, Rohrwacher offers lovingly crafted glimpses of an enterprise we all engage in, regardless of whether we've ever been near a beehive: extracting sweetness from the materials at hand.
  19. The Danish Girl
    Though much of the acting attention in Danish Girl will understandably go to Redmayne, Vikander's position as the audience surrogate plus her energy and passion as Gerda, a woman facing an exceptional challenge to her love of her husband, is more than essential.
  20. The Good Dinosaur
    The Good Dinosaur is antic and unexpected as well as homiletic, rife with subversive elements, wacky critters and some of the most beautiful landscapes ever seen in a computer animated film.
  21. Creed
    Coogler and company do fine work convincing us against our better judgment that nothing we see is preordained, that anything can happen within the four corners of the ring. You can't ask a "Rocky" film to do more than that.
  22. Victor Frankenstein
    For much of the movie's running time, I wished I were watching Mel Brooks' classic take on Shelley's yarn, "Young Frankenstein." At least that one was intentionally funny.
  23. TransFatty Lives
    A raucous, weird, occasionally fascinating entry in the genre of disease-documenting, a portrait of raw nerve in the face of deteriorating nerves.
  24. Altered Minds
    A good mystery and earnest performances keep the movie lively, though the confined location and limited plot ultimately make the end product feel paltry.
  25. Very Semi-Serious
    It's a very, very funny film but also sweetly sad and poignant, echoing the mix of humor and pathos that marks a New Yorker cartoon exactly what it is.
  26. The Pearl Button
    By turns lyrical, impressionistic and profound, the documentary The Pearl Button requires patience but offers stirring rewards.
  27. #Horror
    The film works better as social satire than straight horror, as the murder plot that drives it along always feels unconvincing.
  28. Flowers
    Flowers is too exquisitely formalist — symmetric framings followed by willfully asymmetric shots — to ever feel flushed with real feeling.
  29. Entertainment
    There's a chic emptiness to Entertainment, undoubtedly, and anti-comedy constructs that may rub the wrong way, but there's also a spiky intelligence at work too, one that engages through the artifice of disengagement and the illusion of "performance."
  30. James White
    Ultimately, though, it's Abbott's show to steal — and steal it he does — as he rivetingly conjures a character who's chaotically charismatic, hugely affecting and for better or worse thoroughly real.
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