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. Daughter
    The symbolism remains heavy, but it’s all in service of a powerful prisoner’s story, about the small ways people find freedom.
  2. Attachment
    When Attachment becomes more of a full-blown possession thriller in its final third, it loses the lighthearted charm and keen observation of its earlier sections. Still, that first hour is so sweet that the comparatively sour parts don’t spoil the picture.
  3. Somebody I Used to Know
    There are jokes here, and dramatic moments too; but everyone is so darn earnest all the time that nothing truly exciting happens. Instead, we just hang out with some pretty decent folks for a while, and then the credits roll.
  4. Your Place or Mine
    What saves the picture is McKenna’s knack for finding something real and relatable within quirky comic characters like a hyper-organized overprotective mother and a swaggering cool guy who makes a living telling other people how to succeed.
  5. Huesera: The Bone Woman
    The remarkable debut from writer-director Michelle Garza Cervera is as effectively blood-curdling as it is intellectually incisive.
  6. Magic Mike's Last Dance
    Admirably ambitious if conceptually muddled, it short-circuits a lot of those signature “Magic Mike” pleasures — including some of the lust, and a lot of the laughs — and signals its headier ambitions with a dramatic shift in scenery.
  7. Remember This
    Despite his perceived failings, Karski and “Remember This” serve as a crucial reminder of society’s duty to bear witness, especially whenever and wherever it would seem impossible to raise one’s voice above the din of indifference.
  8. Filmmakers for the Prosecution
    The movie is, like so many Nuremberg accounts, an alternately thrilling and chastening portrait of accountability in action. But it is also, as its title suggests, a thoughtful appraisal of the moral properties of the moving image.
  9. Body Parts
    The film works best when it gets into the nuts-and-bolts of the sex scenes themselves, past and present.
  10. A Lot of Nothing
    There’s an earnest, yearning passion here that makes the film feel vital even at its clumsiest.
  11. Blood
    Working from a Will Honley screenplay, Anderson here crafts a thorny horror film that’s unsettling even when Owen isn’t lunging at the necks of babies and old people — because, like King, Anderson and Honey are as interested in life’s everyday bruises as they are in gaping wounds.
  12. The Locksmith
    The Locksmith screenplay (credited to five people, none of whom are Harvard) doesn’t have the snappy dialogue of the best noirs; but its storytelling is efficient, with enough characters to make its world feel well-populated but not overstuffed.
  13. Pamela, a love story
    Anderson’s story becomes a tale of perseverance, about a passionate woman still searching for her happy ending.
  14. True Spirit
    Give credit to Spillane for making sure that this movie isn’t just about the heartwarming highs, but about the hard work it took to reach them.
  15. Let It Be Morning
    Although this well-acted film, which was Israel’s official submission for the 2022 international film Oscar, is a bit slow-going, it presents a timely, pointed, at times cleverly satirical snapshot of Israeli-Palestinian relations. It also offers an often poignant look at a dysfunctional family at the center of it all.
  16. Baby Ruby
    In its empathy-driven terror and ghoulish wit — including the Chekhov’s-gun rule hilariously applied to the placenta — “Baby Ruby” won’t be for everyone, although it only ever feels steeped in the honesty of experience, which, according to the press materials, was partly Wohl’s own.
  17. 80 for Brady
    The comedy isn’t necessarily groundbreaking, and the story beats are almost painfully predictable, but the picture hangs together thanks to this group of legends and the loose, absurdist humor of the screenplay.
  18. Knock at the Cabin
    The more you realize where Shyamalan is leading us — and by this point, it’s not exactly a surprise destination — the more difficult it becomes to locate a worthwhile point. Perhaps the point is in the impressive discipline of the filmmaking, though if anything, given its premise, the movie wants to be a grislier, more nastily unhinged piece of work than it manages.
  19. The Man in the Basement
    Le Guay effectively keeps the pressure on his characters and their loaded situation throughout, using ominous camera angles and anxious music cues to heighten the dread and uncertainty. He receives a fine assist from Renier and Cluzet, who commit to their divergent roles with unnerving intensity. It’s a terrific film.
  20. Cairo Conspiracy
    The inherent backstage machinations and underlying corruption and hypocrisy that go with the church/state backdrop may not be unfamiliar territory, but Saleh, who controversially took on the 2011 Egyptian revolution in his acclaimed 2017 political thriller, “The Nile Hilton Incident,” keeps it all quite compelling.
  21. Nostalgia
    If yielding to nostalgia often makes people recall a more affectionate and wistful version of what actually was, this stirring, evocative film likely will leave viewers haunted by what might have been.
  22. Waking Karma
    Michael Madsen brings a much-needed jolt of bad boy energy to this dreary psychodrama that squanders good performances and a sharp midfilm twist.
  23. The Mission
    The Mission is less about Mormonism or Finland than it is a poignant and relatable portrait of loneliness.
  24. Life Upside Down
    This is a stifling film about solipsistic people.
  25. Condor's Nest
    The lack of explosive action hinders Condor’s Nest, as does the reliance on spare, nondescript locations like bars, offices and open fields. But Blattenberger can write punchy dialogue; he also wisely spends some of his money on ace character actors.
  26. Kompromat
    This is a well-crafted chase picture that doubles as a fiery warning about the dangers of an authoritarian government that can create its own reality, with no accountability for mistakes or malevolence.
  27. Shotgun Wedding
    Shotgun Wedding peters out down the stretch, as the explosions and gunfire overwhelm the banter. But the middle hour is snappy, helped by the chemistry of Lopez and Duhamel, playing two over-analytical, over-prepared types who have different ideas on how to thwart their attackers.
  28. You People
    You People busts out of the gate with the lit, razor-sharp zip of a “Dear White People” only to limp across the finish line with all the edge of Up With People.
  29. Fear
    Deadliest of all, Fear is just not scary. The jump scares don’t land, the fears themselves are all a bit silly and it feels like Taylor is holding back for the majority of the run time.
  30. Close
    As good as his actors are — especially the wonderful Dequenne, whose Sophie quietly seeks to repair the boys’ broken bond — they cannot conceal the calculation inherent in this story’s design. Nor can they quite overcome the disconnect between the glossy, self-admiring visual beauty of Close and the stormier, uglier emotional depths it purports to uncover.
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