Los Angeles Times' Scores

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For 16,550 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 2.2 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: 8,714 out of 16550
  2. Mixed: 5,819 out of 16550
  3. Negative: 2,017 out of 16550
16550 movie reviews
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  1. End of Sentence
    Hawkes is terrific with a softer-edged character than we’re used to seeing from the actor (“Deadwood,” “Winter’s Bone”). He’s heartbreaking in scenes where disappointment and resignation play across his face. Lerman is a fine foil, energizing scenes with his edgy impatience and willingness to be unlikable for the majority of the film.
  2. I Will Make You Mine
    More evolution than sequel, Chen maintains the laidback, low-fi charm and black-and-white aesthetic infused with Nakamura’s dreamy, pensive music but also grows the characters, infusing them with more narrative purpose.
  3. The Vast of Night
    Its achievement is predicated not on novelty, but on modesty — the way it manages, using little more than a terrific cast and a few shadowy, sparsely furnished rooms, to populate your mind’s eye with ominous visions.
  4. Screened Out
    The film drifts from grown-up to kid problems with mostly anecdotal evidence but very little science to back it up. It tries to cover too much ground in 71 minutes without going deeply into any of the areas it lightly explores.
  5. Military Wives
    No surprises await, but the performances by Scott Thomas, Horgan and company and some pleasant harmonizing make Military Wives palatable Memorial Day weekend viewing.
  6. The Painter and the Thief
    The result is a movie that feels both truthful and evasive, deeply moving and a little perplexing.
  7. The Lovebirds
    Rae and Nanjiani have a quicksilver chemistry, flashing from playful banter to genuine, hurtful arguing in an instant.
  8. Scoob!
    Scoob! was never going to be a great musical, but did it have to turn out to be just another superhero movie?
  9. The Wrong Missy
    The Wrong Missy is a lightweight throwaway, the kind of movie it is difficult to suggest one actually choose to watch, but if your algorithm somehow lands on it provides a certain harmless diversion.
  10. Valley Girl
    The original film was not a time capsule; it was a snapshot, capturing a unique time and place. The new film simply doesn’t have the same spark and energy.
  11. Spaceship Earth
    One way to approach Spaceship Earth, Matt Wolf’s layered, absorbing and sympathetic new documentary, is as a madly inventive primer on responsible dystopian-hermetic living. But the film — which is being shown at drive-in theaters, in pop-up cityscape projections and on multiple streaming platforms — would make for fascinating viewing under any circumstances.
  12. Working Man
    Once the movie shifts gears, it’s less about the working man and more about the human. That sounds like a good thing, but the further Working Man creeps into emotionally over-calibrated basic cable territory, the less real it feels.
  13. Driveways
    Driveways, a movie that’s poignant now for reasons we doubtless wish it weren’t, shows us how unlikely people can come together under imperfect circumstances and fit together perfectly. It also shows us how fleeting that perfection can be.
  14. Arkansas
    Amiably paced with comfortable, lived-in performances, Arkansas isn’t so much a crime drama or dark comedy as a depiction of a world in which illegal activities and their aftermath are simply part of a way of life.
  15. Blue Story
    It’s a Shakespearean rhapsody in indigo where love, friendship, betrayal and revenge swirl and blur with life-changing consequences.
  16. Becoming
    Some would call this picture flattering — not unflattering, anyway — though it strikes me as a believable picture of a person who doesn’t need flattery, either to look good or to feel good about herself.
  17. The Infiltrators
    With The Infiltrators there is an audacity, an unrestrained boldness, to both the events depicted onscreen and the way in which they are portrayed in the movie itself.
  18. All Day and a Night
    The beats of this story are easy enough to recognize, which is not to say that they’re formulaic. Sanders’ quietly mesmerizing performance refuses to let anyone cast Jahkor as either victim or villain, instead locating a tricky middle ground.
  19. Capital in the Twenty-First Century
    As directed by New Zealand filmmaker Justin Pemberton, “Capital” is a sleek tour of economic history over the last 400 years or so.
  20. The Wretched
    What the Pierce brothers lack in flavorful storytelling or compelling characters, they almost entirely make up for in good old-fashioned atmosphere and suspense. The Wretched rarely surprises, but it’s well-crafted enough to get under your skin anyway, with an able assist from the creepy camerawork of cinematographer Conor Murphy and unsettling score by Devin Burrows.
  21. Bull
    The relative lack of “action” in Bull does mean the audience has to make more of an effort to engage with the film. But like the recent arthouse favorites “The Rider” and “Lean on Pete,” this movie has a rare sense of place. It preserves an entire world and the fragile people within it.
  22. Tammy's Always Dying
    Tammy’s Always Dying is a richly observed comedy-drama. Johnson’s direction is intelligent and restrained.
  23. The Half of It
    Wu is confident enough to make the bold strokes her characters speak of and craft a movie that’s comfortably different.
  24. Pahokee
    With a patient and unobtrusive eye, filmmakers Lucas and Bresnan paint impressionistic portraits of a quartet of charismatic teenagers over the course of a pivotal school year.
  25. True History of the Kelly Gang
    True History of the Kelly Gang, for its part, strikes just the right balance of scary and crazy, and it subjects both to an impressive measure of discipline.
  26. Bad Education
    Bad Education reminds us how synonymous great acting and great lying can be. Jackman and Janney, both giving their richest performances in some time, manage to pull the wool over your eyes with one hand even as they teasingly pull back the curtain with the other.
  27. Chichinette: The Accidental Spy
    The highly decorated Cohn is a feminist heroine who definitely deserves her own cinematic close-up. This one’s a start, but perhaps there’s a star-driven narrative feature to be had that can more richly bring her striking story to life.
  28. Sergio
    Barker and Borten have chosen to retain the documentary’s framing device of the rescue attempt. In the nonfiction film, it served as a propulsive engine, carefully balanced against the interviews that told Vieira de Mello’s story and its tragic conclusion. Here, it feels abstract, disjointed from the scenes with him and Carolina, thus weakening and muddying the story.
  29. Extraction
    Extraction would be better if it just doubled down on being dumb. Instead, although the movie does indeed have some dazzling action sequences, they are interspersed with dramatic scenes that feel increasingly belabored, giving the movie a peculiar stop-start rhythm as it makes its way to a lumbering, extended gun battle final set piece.
  30. To the Stars
    It is a movie that will reward your patience.
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