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. At its most provocative, it suggests a tension between spirit and flesh in the nun's maternal feelings. Rather than examine that friction, Améris pushes the narrative in predictable directions.
  2. Although it may not be the most vivid or exciting subject for cinematic exploration, the documentary Seeds of Time offers a vital, clear-headed look at the effects of climate change on global food security.
  3. As a bored baker with an overactive imagination, the wonderful French actor Fabrice Luchini is the only reason to see Gemma Bovery, a mildly amusing riff on Flaubert. H
  4. The premise, that high school is more perilous than a life of espionage, is witty and full of potential. But Newman makes that case by staging his car chases and fight scenes with as much sense of drama as eighth-period trig.
  5. One would almost be inclined to give Morgan a pass for interviewing some of his executive producers as expert sources. A bigger disappointment is the missed opportunity to address the significant retailer markups that could have gone toward improving sweatshop conditions instead of profit margins.
  6. Despite the undeniable novelty of having Holmes on hand to keep it real, the absence of traditional character development ultimately takes its toll on viewer empathy.
  7. Even with its off-balance, overstuffed storytelling, the film maintains a charm and energy that never flags, with brisk pacing and generally engaging performances from its deep-bench cast.
  8. Even by the non-Olympian standards of the disaster genre, San Andreas is chock-full of cliché characters, staggering coincidences and wild improbabilities.
  9. The new Poltergeist is a pleasant enough diversion, better as a low-simmer suspense story than a full-blown effects extravaganza.
  10. Director Amelio turns Antonio's brief stint at a "real" job into a piercing and visually striking glimpse of hypocrisy and corruption — a glimpse too of the film that might have been.
  11. Dreariness seems to be the filmmaker's shorthand for authenticity here. Without any realism to ground it, the movie's spiritual story line feels aloft — swirling around but never dramatically landing.
  12. There are occasionally interesting peeks into the hard work of keeping a flame alive that burned briefly 30 years ago. But mostly this is a video tour book for fans, no more, no less.
  13. The make-it-rain clichés are abundant and Jean-Claude La Marre's direction is pedestrian, but at least a few of the choreographed numbers here prove more magical than what Soderbergh mustered.
  14. Although the meta-style conceit is fun, it doesn't fully kick in until the film's midpoint. Until then it's a sluggish, fairly dour ride.
  15. While this buoyant account of his brief but eventful life might feel like a rock climber's "Man on a Wire," the Oscar-winning 2008 documentary about tightrope walker Philippe Petit, director Marah Strauch gives the film an exhilarating uplift of its own.
  16. It deals with friendship, loneliness, abandonment and forgiveness, and though its curious narrative arc means you're never sure exactly where it's going, the film works up a considerable emotional charge by the end.
  17. As horror, it's frightless and boring. As comedy, it's desperate and laughless. As exploitation, it's exceedingly dull. Even excrement was once something of substance. The Human Centipede III: Final Sequence is just rancid air. It too shall pass.
  18. Tentpoles are rarely guilty of overreaching, but Tomorrowland has a tendency to feel out of control, a film that is finally more ambitious than accomplished.
  19. What really hampers Miles to Go is its aimless wandering. Many things could be forgiven with some growth or movement in the journey, but ultimately, this one just ends up running in circles.
  20. The musical numbers are inconsistent, ranging from radio-ready to after-school-special quality. Some story lines pale compared with the others. But overall, this is an immense achievement.
  21. None of it is quite satisfying, especially when old-age makeup takes center stage. But striking moments develop along the way, jolts of weird joy and melancholy as menace gathers under the Mediterranean sun.
  22. A melodramatic third act strains to reconcile the film's disparate parts, and the feel-good ending is not quite earned. Still, the film offers a few lessons for those inclined to hear them.
  23. Gout undermines his own spiky, ambitious narrative with all the visual interference, as dazzling as it often is.
  24. The bizarro plot threads, and dippy characters fail to connect in any rewarding way, resulting in a largely unfunny film that proves as repetitive and tedious as the 1971 Philip Glass snippet that provides its entire score.
  25. While all the naturalistic overtones might suggest faith-based Terrence Malick, those committed performances keep the film involving, however recognizably those echoes might resonate.
  26. It's gritty and grim, but Animals is also a gripping portrait of young junkies in love.
  27. The documentary is not so much a call to action as a moving portrait of individuals who devote their lives to understanding the environmental shifts that all too soon might manifest themselves on our own altered shorelines.
  28. Between the gorgeous locations (New Zealand subs for Colorado), a credible emotional core, some effectively droll dialogue and a well-staged finale, Slow West is worth a look.
  29. The film proves much more valuable as a historical allegory than as a musical survey.
  30. Crushingly listless and at times as off-putting as a needle scratching vinyl, this corkscrew tale of questionable (and questioned) parenting, youthful misjudgments, grudges and disappointments doesn't even have the disciplined domestic-evil allure of a Lifetime movie.

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