Los Angeles Times' Scores

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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:
  1. Positive: 8,698 out of 16524
  2. Mixed: 5,809 out of 16524
  3. Negative: 2,017 out of 16524
16524 movie reviews
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  1. The Skeleton Twins
    One of the better movies to come along this year.
  2. Wetlands
    Director and co-writer David Wnendt is after serious comedy here, a character study of psychic pain, wounds hereditary and self-inflicted, and body-conscious absurdity that treats the human condition with wry intelligence, not empty prurience.
  3. Last Weekend
    All the possibilities of a richly drawn family squabble fade faster than the final days of summer.
  4. My Old Lady
    Awkwardly balanced between comedy and significance, with plotting that gets increasingly schematic and unconvincing, My Old Lady is bound and determined to get more serious than it is capable of sustaining.
  5. God Help the Girl
    No one comes out and says that music is the language of the soul, but no one has to. We see it happening right before our eyes.
  6. Levitated Mass
    Well-directed with exceptional access by veteran documentarian Doug Pray, whose previous films include "Hype!," "Scratch" and "Art & Copy," Levitated Mass in essence intercuts three stories, each of which is more unexpected than one might imagine.
  7. Second Opinion: Laetrile at Sloan-Kettering
    This one's for the conspiracy-minded only.
  8. No No: A Dockumentary
    [An] engaging portrait of a complicated but vivid sports figure.
  9. Frontera
    In trying to create a balanced portrait of the conflicts and the ordinary people affected by them, director Michael Berry, who co-wrote the screenplay with Luis Moulinet III, chips away at the authenticity and intensity that an issue-driven film like this sorely needs.
  10. The Identical
    The Identical is ultimately too schematically sentimental, even with Liotta playing against type, to have much of an impact.
  11. Thunder and the House of Magic
    Directors Ben Stassen and Jérémie Degruson have assembled so many clichés and bits borrowed from other films that "Thunder" feels like a rerun on its first viewing.
  12. The Longest Week
    Like so many filmmaking wunderkinds who could have used a course in common sense, Glanz is technically assured but emotionally hollow.
  13. Innocence
    A movie of such snowballing stupidity that it's a wonder the actors could keep straight faces while shooting it (outtakes, please!).
  14. Jason Nash Is Married
    he film, a largely point-and-shoot affair, is an enjoyable, lightly satirical glimpse at the uneasy intersection of marriage, showbiz and life in Los Angeles.
  15. But Always
    Hokey dialogue, a syrupy score, a corny use of slow motion and a slew of contrived or undercooked plot developments further sink a movie whose appeal may elude even die-hard romantics.
  16. Kabbalah Me
    Bram, who also narrates (and writes, with co-director Judah Lazarus and Adam Zucker), may be earnest in his desire for enlightenment. But his approach feels overly self-serving; too much "Me," not enough "Kabbalah."
  17. Life of Crime
    Life of Crime has the authentic Leonard snap, crackle and pop.
  18. Expedition to the End of the World
    Composed of breathtaking images and cheeky bits of humor, Dencik's travelogue reveals a journey with curious traces of the past, eye-popping encounters with a wild present and — in discovering an oil company's ship in the group's midst — a weighted reminder of our future as stewards of the Earth.
  19. The Last of Robin Hood
    Instead of a cautionary tale, they've looked at Flynn's life through rose-colored glasses.
  20. As Above, So Below
    An entertainment-free sinkhole of Dramamine-worthy nonsense.
  21. Cantinflas
    Cantinflas the movie tries to capture the magic of this much-loved legend, and it does so in fits and starts.
  22. A Letter to Momo
    Physical beauty and fearless adventure, silly comedy and sensitive emotions, filmmaker Hiroyuki Okiura brings a facility for all of them to the table.
  23. Jamie Marks Is Dead
    Jamie Marks Is Dead admirably refuses to hew to conventional horror tropes and is acted with integrity by its young performers, but the film nonetheless has a nagging pulse problem.
  24. The Calling
    The Calling is an absorbing, solidly crafted procedural thriller with a terrific lead turn by Susan Sarandon.
  25. The Congress
    In conjuring a fantastical slippery slope in which technology, pharmaceuticals and the entertainment industry co-star in a takeover of our lives, The Congress boasts a propulsive image-making pull.
  26. Road to Ninja: Naruto the Movie
    More visually spectacular and emotionally resonant than the previous films.
  27. The Damned
    The script by Richard D'Ovidio is so packed with knuckleheaded moves and ultra-obvious dialogue ("Dad, there's something wrong with this place!") that the whole enterprise proves more risible than frightening.
  28. The Notebook
    This cautionary tale certainly has a chilling and timely message of how wars make monsters out of innocent people. But using reductive caricatures — complete with phlegmatic performances — to send that message is perhaps not the best way, because it turns something with modern-day implications into distant allegory.
  29. The Strange Color of Your Body's Tears
    Above all, its gratuitous graphic gore and exploitative nudity are unmistakably giallo. What "The Strange Color" lacks is the heart that separates a good film from a great one.
  30. May in the Summer
    There's goodwill to go around in Dabis' modestly engaging yarn, from its appealing performances to the times it zeroes in on the ways culture, tradition and individuality cause headaches and heartaches as much as comfort.
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