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 2.3 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: 8,697 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. Flag Day
    As it stretches out, it also thins, its Malick-meets-Cassavetes ambitions never rising above clichés of technique and melodrama.
  2. Reminiscence
    The modern noir style and genre innovation are such a neat cinematic twist that it’s a bit of a letdown that the world doesn’t always feel fully fleshed out.
  3. The Night House
    The director, David Bruckner, doesn’t just mindlessly apply the electrodes; even when he jars you to attention, he always seems to be drawing you into something deeper and more atmospheric. He delivers a scare you can sink into.
  4. PAW Patrol: The Movie
    To very young kids who like cartoon dogs driving shiny vehicles, PAW Patrol: The Movie may be awesome. To grown-ups, it may be an aggressively under-written, 88-minute toy commercial.
  5. Ema
    Larraín crafts a mesmerizing cinematic rhythm that alternates between montage and slow camera movements; the film’s push-pull tempo mimics that of Ema’s own intimate machinations.
  6. Days
    It’s a tale of profound isolation and thrilling connection, alert and alive and gorgeously sensual even as every moment carries a bittersweet reminder of time’s inexorable passage.
  7. Don't Breathe 2
    Álvarez and Sayagues have delivered a blood-spattered potboiler that’s no work of genius but is much better than average.
  8. Respect
    Respect is fine, fitfully rousing, even respectable. And sometimes, it’s something more.
  9. Beckett
    It’s a ‘70s paranoia movie in the best sense. And this is no hackneyed tribute; it’s complex, murky, propulsive.
  10. CODA
    Because Heder — whose previous work includes the Netflix series “Orange Is the New Black” and “Glow” and feature “Tallulah” — is so adept at establishing the emotional bonds between the film’s close-knit family, the presence of all these conventions doesn’t matter.
  11. Free Guy
    Reynolds is a bit too glib and smug to buy as the romantic lead. It’s actually a relief that the movie salvages the romance by relegating it to the game world. But the whole film remains a bit too glib and smug anyway.
  12. In the Same Breath
    At the simplest level, the stories of trauma and loss told in In the Same Breath exist as a necessary corrective.
  13. Pray Away
    With every added account of shameful contrition, the realization that this issue exists very much in the present tense weighs heavy on the viewer.
  14. Never Gonna Snow Again
    Never Gonna Snow Again, Poland’s submission for the 2021 international film Oscar, is an intriguing, hypnotic, often beautiful but ultimately inconclusive dramedy.
  15. Ailey
    It’s also worth remembering that someone as complex as Alvin Ailey isn’t going to be captured in any one film. Ailey is, therefore, best absorbed as an elegant, impressionistic primer, a chance to bask in his mastery of movement and dance, as framed by those near enough to him to know what it took out of him to gift it to the world.
  16. The Evening Hour
    Narrative bumps and all, The Evening Hour gives Ettinger a full stage to parade his unassuming virtuosity.
  17. Swan Song
    A little too broad at times, Swan Song smartly balances its excesses with small, sweet moments that leave an impression on the audience just as significant as Pat’s imprint on Sandusky.
  18. Whirlybird
    Quibbles aside, Whirlybird proves a memorably evocative time capsule of 1980s and ’90s Los Angeles and the people who made — and captured — the news, as well as a stirring portrait of regret.
  19. Vivo
    Vivo takes off with a cute kinkajou, some good music and some interesting visuals, but ultimately doesn’t stick the landing.
  20. Sheep Without a Shepherd
    Whether snarling behind shades in uniform or off hours in elegant dresswear, Chen is a rule-breaking hoot, never more so than when she’s gearing up to heap abuse on a near-tears little girl in order to break her.
  21. Enemies of the State
    Kennebeck’s handling of the labyrinthine narrative is commendable, particularly since the realigning she needs to do in the final act requires a deft touch, like changing the flavor of a dish already prepped, spiced and cooked.
  22. Jolt
    Written by Scott Wascha, the script is simultaneously crude, rude and whip-smart. Wexler‘s direction is a rapid-fire attack of highly stylized skirmishes and aestheticized action.
  23. Sabaya
    With Sabaya, we witness documentary filmmaking at its boldest; we find hope in seeing not only the triumphs of the Yazidi Home Center but also what the medium can do.
  24. Ride the Eagle
    Good intentions aside, this sluggish film never soars beyond its innate contrivances and frequently flat, knee-jerk humor.
  25. Lydia Lunch: The War Is Never Over
    This is a messy, riotous film worthy of Lunch herself, and just like Lunch, it isn’t asking to be liked.
  26. The Last Mercenary
    The plot chugs along with no surprises, but that’s beside the point. While it’s not exactly a laugh riot, the film’s humor tends to land.
  27. The Green Knight
    What does it mean to be a knight, or even just to be human? It isn’t an easy question, and The Green Knight, in taking it seriously, isn’t always an easy film. But by the time Gawain reaches his journey’s end, in as moving and majestically sustained a passage of pure cinema as I’ve seen this year, the moral arc of his journey has snapped into undeniable focus.
  28. All the Streets Are Silent: The Convergence of Hip Hop and Skateboarding (1987-1997)
    “All the Streets” feels niche to a fault.
  29. Eyimofe (This Is My Desire)
    Through an economy of exposition, Eyimofe, (translated as “This is My Desire”) delivers a timeless, universal portrait of human resilience while establishing Arie and Chuko as a welcome new addition to the filmmaking brood.
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