Los Angeles Times' Scores

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For 16,520 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 2.4 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: 8,697 out of 16520
  2. Mixed: 5,806 out of 16520
  3. Negative: 2,017 out of 16520
16520 movie reviews
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  1. Wild Life
    The film is at once gently intimate and breathtakingly expansive in scope.
  2. Joyland
    A visually arresting, politically forceful melodrama from Pakistan.
  3. Carmen
    The evocative, if narratively slight, doomed romance is charged with otherworldly intensity.
  4. Evil Dead Rise
    A fresh pivot that starts out strong before caving to fan service, this femme-centered installment at least doesn’t skimp on visceral horrors and black humor, finding inventive ways to make its audience cringe, cower and cackle as it puts its heroines through hell.
  5. Everything Went Fine
    "Everything” — anchored by strong performances from Marceau and Dussollier — is a refreshingly in-the-moment chronicle of what it means to love someone enough to grant them something so final, and, in a society that doesn’t fully accept it, to see it through legally and logistically.
  6. Judy Blume Forever
    Davina Pardo and Leah Wolchok’s touching documentary “Judy Blume Forever” is anchored by a comprehensive conversation with Blume, now in her 80s and as disarmingly frank and cheery as ever. She looks back at her life and career, and discusses how they intertwined in ways that inspired her best work.
  7. Ghosted
    [Evans and de Armas] take the film’s ridiculousness just seriously enough to keep barreling through while navigating the more puckish bits with the requisite charm and buoyancy.
  8. Chevalier
    Directed by Stephen Williams with a sense of momentum and fluidity, it’s hard to shake the feeling that this version of Bologne’s life story glides over the most interesting parts.
  9. Little Richard: I Am Everything
    A long-overdue creation corrective that gives an outwardly revolutionary cultural icon his trailblazing due at the same time it grapples with the conflicted soul that rarely knew a lasting inner peace.
  10. Other People's Children
    Partly drawn from Zlotowski’s own personal experience, Other People’s Children sneaks up on you, with a depth and complexity of feeling that throws those glossy, idyllic opening moments into bittersweet relief.
  11. Somewhere in Queens
    Somewhere in “Queens” lies a stronger, more unique and inspiring story about family, culture and the place we call home. It’s too bad Romano didn’t fully find it.
  12. The Last Kingdom: Seven Kings Must Die
    Though “Seven Kings Must Die” suffers some from the gray palette, dim lighting and general somberness that weighs heavy on a lot of modern television, the movie delivers viscerally exciting fight scenes and a strong sense of what life was like in an ancient, unsettled world.
  13. Once Upon a Time in Ukraine
    The fight sequences are so dynamic — and so frequent — that the 90-minute runtime flies by. This is the kind of movie that connoisseurs of over-the-top action like to seek out.
  14. One True Loves
    There are talented people up and down the One True Loves cast and crew list, so it really makes no sense that director Andy Fickman’s film is so off-key. Nearly every creative choice goes awry.
  15. One of These Days
    It’s an artful piece of work, with some memorable moments where these Texans pick at each other, playing on the weaknesses that are hard to hide in a small town. But the movie is also relentlessly sour, reducing nearly everyone in it (except Joan) to a few immediately observable and mostly unflattering traits.
  16. Longest Third Date
    That disconnect between people’s performative selves and their true selves is the most intriguing part of Longest Third Date because it also speaks to how new couples behave when they’re trying to impress each other.
  17. Blind Willow, Sleeping Woman
    Porous enough in their philosophical intent though as not to impose a strict meaning, and yet sufficiently potent to make us reassess our priorities, the array of interpersonal conflicts floating in the idiosyncratic “Blind Willow” feel like elegantly animated lucid dreams full of poetic imagery: far from realistic but viscerally truthful.
  18. Sick of Myself
    As the satire retains its acridness to the very end, Sick of Myself proves itself well-aware that narcissists don’t learn lessons — they learn how to adapt.
  19. Beau Is Afraid
    Beau Is Afraid offers arresting confirmation of Aster’s talent and fresh evidence of his limitations. It’s a big, wildly ambitious swing of a movie, one that seems eager to liberate itself and its characters from the conventions of form and genre. But that more expansive energy is at odds with and ultimately constrained by the story’s mother/man-child dialectic.
  20. Imagining the Indian: The Fight Against Native American Mascoting
    Some films benefit from tying their persuasive abilities to sustained righteousness more than careful slickness, and this collaboration between Cheyenne filmmaker West and veteran documentarian Kempner (“The Life and Times of Hank Greenberg”) is one of them.
  21. Mafia Mamma
    The execution struggles from the outset to find a sustainable comedic pitch.
  22. Renfield
    The stylish Renfield is a bit of frothy fun. It may be too flip for some, but flippancy isn’t the issue — it’s the flimsiness. Hoult and Cage sell the toxic odd-couple dynamic well, but a sturdier story is required to fully support their performances, especially Cage’s operatic Dracula, who delights in terrorizing his foppish familiar.
  23. Suzume
    This isn’t the first time Shinkai has raised the specter of environmental disaster within the context of a swooningly sentimental teenage fantasy, and if this one doesn’t achieve the dazzling intricacies or soaring emotional heights of “Your Name,” its easy blend of enchantment and feeling is nearly as hard to resist.
  24. Chupa
    As with the similar ‘80s and ‘90s films of director Chris Columbus (a producer on this project), the characters in Chupa are likable and memorable, with a fun dynamic. And Cuarón — the son of the Oscar-winning director Alfonso Cuarón — creates a rich sense of place here, encouraging the viewers to come to love Mexico as much as Alex eventually does.
  25. One Day as a Lion
    Nothing that happens really matters that much. Nevertheless, the movie has the kind of personality and heart too often missing from grimy little crime pictures. It’s endearingly ramshackle.
  26. Country Gold
    Reece’s ideas don’t always fit together neatly, but by gosh he has a lot of them. It’s a treat to watch him play.
  27. Lewis Capaldi: How I'm Feeling Now
    This revealing film is filled with pleasant balladry from a likable troubadour; but it also shows what it’s like to sing his little tunes while under unfathomable pressure.
  28. Jason Isbell: Running with Our Eyes Closed
    The situation isn’t that catastrophic for Isbell in this film, but in a way that’s what makes it so moving. He’s dealing with the same kind of ordinary disconnects that so many of us do, like trying to focus hard on doing good work while also keeping some of himself open to his loved ones.
  29. How to Blow Up a Pipeline
    Simultaneously rousing and unnerving, “Pipeline” strays from despair. It doesn’t complicate the story with the loss of human life the way “Night Moves” does, and in that sense it can seem too neatly wrapped-up. Still, its pointed timeliness enthralls.
  30. Paint
    Paint may ultimately be just modestly amusing, but at least it understands that a palette of well-blended tones has a better chance of earning our laughs than the one-color-fits-all kind.
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