Los Angeles Times' Scores

Select another publication »
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
view
per page
  1. A Crime on the Bayou
    A Crime on the Bayou never explodes with fury. But that doesn’t mean you won’t feel enraged while taking in the maddening series of systematic wrongs committed against Sobol and Duncan.
  2. Rita Moreno: Just a Girl Who Decided to Go for It
    Even in a film that makes no bones about presenting its subject in a flattering, softening light, this 89-year-old stage and screen legend has refreshingly few qualms about saying exactly what she thinks.
  3. Les Nôtres
    What keeps Les Nôtres from being effective, however, is that it rarely makes the transition from coolly observed case study to compellingly messy, resonant human drama.
  4. 12 Mighty Orphans
    Credit Wilson and Sheen . . . Nothing that happens in 12 Mighty Orphans is unexpected, but these two pros still react with infectious wonder as the messages they send to their students take root and then sprout.
  5. Truman & Tennessee: An Intimate Conversation
    Vreeland’s documentary serves as both a wonderfully evocative time capsule and a candid tribute to a pair of artistic legends.
  6. Summer of 85
    Summer of 85 has the matter-of-fact sensuality and youthful focus of so many of Ozon’s earlier films, but it’s also a startlingly specific greatest-hits compilation from across the director’s tirelessly productive career.
  7. Fatherhood
    Though Logelin’s story of loss and perseverance is touching, there isn’t really anything deep or convincing about grief or parenting in Fatherhood, making this promising tale something more middling and a touch disappointing.
  8. Luca
    Luca is about the thrill and the difficulty of living transparently — and the consolations that friendship, kindness and decency can provide against the forces of ignorance and violence.
  9. The Sparks Brothers
    If you care about Sparks, this movie is heaven, a long-overdue answer to the group’s 1994 song “When Do I Get to Sing ‘My Way.’” (With this doc, Ron and Russell have to feel, at least a little bit, “like Sinatra felt.”) If you don’t know about Sparks, Wright has created an introduction that gleefully demolishes any barrier you might think you have toward their music.
  10. Akilla's Escape
    Although the constant shifts between contemporary Toronto and ‘90s New York can at times cause confusion, the film remains firmly rooted in Williams’ quietly powerful, laser-focused performance.
  11. Peter Rabbit 2: The Runaway
    With its human relations a bit dicey, the movie lives or dies by the cuteness of its CG animals. Fortunately, it probably will never stop hitting the cute button inside us simply to see rabbits scurry-hopping with earnest little faces. The cinematic technology’s growth is remarkable.
  12. Holler
    [Barden] becomes the vessel to express Riegel’s quiet cri de coeur, which is not just yearning to escape one’s own circumstances but the absolute necessity of it.
  13. Sublet
    It’s an evocative film that creeps up on you in unpredictably tender ways, so prepare to shed a tear or two — or three.
  14. Infinite
    The script doesn’t reincarnate so much as it recycles, drawing freely on the nested realities of “Inception,” the free-your-mind metaphysics of “The Matrix” and the amnesiac-assassin revelations of the Jason Bourne movies. Maybe watch one of those tonight instead.
  15. Awake
    If the end-of-the-world genre seems downright somnambulant lately, Awake is jolting proof a fiendishly clever twist can shake it from its doldrums.
  16. Caveat
    Caveat is like a gothic horror tone poem, with pungent notes of decay.
  17. Super Frenchie
    For an extreme sports documentary, Super Frenchie, tracking the increasingly dangerous exploits of gonzo skier/BASE jumper Matthias Giraud, can’t help but feel benignly pedestrian.
  18. All Light, Everywhere
    If perception has its limitations, this deeply sobering, stimulating film suggests, that may be another way of saying that it is fundamentally limitless. There is so much — too much — to see here, and no end of vantages from which to see it.
  19. Undine
    Undine is a poker-faced fairy tale, a fantasy wrought by a committed cinematic realist. It’s an example of how a filmmaker can take an outlandish central idea and play it beautifully straight.
  20. Ahead of the Curve
    While Ahead of the Curve doesn’t offer any solid answers, it does make the case that understanding lesbian history should be a key part in assessing the future.
  21. The Conjuring: The Devil Made Me Do It
    Chaves is a solid craftsman with a weakness for easy jolts, but also a gift for filling the frame with strategically unnerving pools of light and shadow; he can turn even a daylit room into something ominous and suggestive.
  22. Swimming Out Till the Sea Turns Blue
    The rhythms are uneven, the patterns of meaning often elusive. But they coalesce into a moving glimpse of lives lived and artistic legacies forged in the shadow — and sometimes the harsh, glaring light — of momentous historical change.
  23. Moby Doc
    For all its questionable creative choices, Moby Doc is at least more personal and daring than the typical music documentary. This is the movie equivalent of Moby’s discography, with highs and lows tied directly to its creator’s own embarrassing slip-ups and sublime moments of grace.
  24. Funhouse
    There is an enjoyable fight scene and the production design and cinematography of “Funhouse” do what they can with limited resources. One wishes the script hadn’t been the most limited resource of all.
  25. American Traitor: The Trial of Axis Sally
    Period re-creation is decent (the interiors-heavy film was shot entirely in Puerto Rico), Polish effectively peppers in bits of archival footage, and the story is often involving despite its missteps. Still, it’s hard not to wonder where the picture might have landed with a more skillful, charismatic lead and a subtler retelling.
  26. Port Authority
    What it lacks in uniqueness of concept, it makes up for in evocative implementation of the medium.
  27. State Funeral
    Ukrainian director Sergei Loznitsa’s clinical and fascinating 135-minute assembly of this priceless archive is a categorically weird, thrillingly immersive distillation of four days of official, cultish pomp and mourning for one of the 20th century’s biggest monsters.
  28. Shepherd: The Story of a Jewish Dog
    Roth wisely manages to avoid excess mawkishness and keeps the action moving apace.
  29. Cruella
    While its surface pleasures are dazzling — if a bit protracted, at well north of two hours — it finally suggests that memorable screen villainy and complex inner humanity may be forced into a kind of stalemate, at least when there’s a corporate-branded intellectual property involved.
  30. In the Heights
    To call this movie assertive would be an understatement; to describe it as small would be a lie. At nearly two-and-a-half hours and with a terrific ensemble of actors singing, rapping, dancing and practically bursting out of the frame, In the Heights is a brash and invigorating entertainment, a movie of tender, delicate moments that nonetheless revels unabashedly in its own size and scale.
Page:

Top Trailers

See all »
See all trailers »