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. The Cotton Club Encore
    In the end, there’s a point about black struggle alongside white dominance in The Cotton Club Encore that Coppola can’t get quite right because, ultimately, atmosphere won out over emotion.
  2. No Safe Spaces
    What might have been a pertinent, evenhanded examination of the notion of free speech on today’s college campuses wastes little time in exposing an overwhelmingly right-leaning bias in the disappointingly sensationalistic agitprop that is No Safe Spaces.
  3. The Shed
    Writer-director Frank Sabatella falls back on a few too many high school and monster movie clichés; but a good young cast and a strong sense of purpose compensate for most of the shortcomings.
  4. Radioflash
    Given how visually inventive and unusual the film’s first five minutes are, it’s disappointing that, by its last half hour, it essentially turns into one undistinguished chase scene after another. A heroine as strong as Reese deserves a more consistently exciting plot.
  5. Crown Vic
    Souza and his cast explore a familiar milieu, and though they fall short of saying anything startlingly insightful about it, they do a fine job of making it feel real, and even vital.
  6. Line of Duty
    There’s scarcely a minute of the amped-up action movie Line of Duty that isn’t absolutely ridiculous … and scarcely a minute that isn’t mindlessly entertaining.
  7. Feast of the Seven Fishes
    The real strength of Feast of the Seven Fishes is the attention to detail Tinnell brings to the wintry West Virginia setting: from the blue chill of the outdoors to the welcoming bustle of the bars, kitchens and churches.
  8. To Kid or Not to Kid
    Remaining child-free is still a relatively taboo issue, and To Kid or Not to Kid deserves praise for exploring it so openly. The film wanders a bit in that exploration, lacking a structure that might make it more effective in having the conversation, but there’s value in broaching the topic.
  9. Ximbi Xombix
    A poorly produced experiment by writer-director Dae Hoon Kim, also the act’s lead singer on- and offscreen, the film’s mere existence baffles.
  10. White Snake
    Some of the special effects are genuinely spectacular, but the narrative is often difficult to follow.
  11. Scandalous: The Untold Story of the National Enquirer
    As pop culture narratives go, “Scandalous” wants to be as colorful and fun as a flip through of the rag itself at the supermarket. But in these truth-challenged times, the jovial tone of “Scandalous” all too often outweighs the judgmental.
  12. Ernie & Joe: Crisis Cops
    Moving in its humanity and forceful in its pragmatism, the documentary feels like essential viewing, especially for decision makers with the power to enact similar initiatives.
  13. I Lost My Body
    You might say this magical, intoxicating piece of work does not have an ordinary bone in its body, and what a delight that turns out to be.
  14. The Warrior Queen of Jhansi
    As dramatized, “The Warrior Queen” takes all the biopic shortcuts (narration, sped-up timeline, ham-fisted exposition) only to get to a depiction of the drumbeat to conflict that traffics in platitudes and clichés.
  15. The Report
    Calibrated with rare edge-of-your-seat pragmatism, Scott Z. Burns’ must-see procedural The Report diligently abides by the logical proposition that no end justifies premeditated immoral means as it scrutinizes how the CIA succumbed to post-9/11 paranoia and authorized sadistic abuses in the name of freedom.
  16. 16 Bars
    Although 16 Bars doesn’t always effectively balance its powerful music element with its stirring personal profiles, the film remains a vital and involving portrait.
  17. Ford v Ferrari
    A barnburner of a motion picture that mainlines heart-in-mouth excitement and tug-at-the-heart emotion, Ford v Ferrari is made the way Hollywood used to make them, a glorious throwback that combines a smart modern sensibility with the best of traditional storytelling.
  18. Frozen II
    Like the first film, Frozen II is less a triumph of storytelling than of packaging. It bundles together a bunch of familiar, likable characters and a fresh list of bright, catchy songs, expertly written (by the returning duo of Kristen Anderson-Lopez and Robert Lopez) with an ear toward the Broadway showtunes they will one day inevitably become.
  19. The Hottest August
    Sometimes an experiment feels like just an experiment, and that’s where the well-intentioned query The Hottest August ultimately lands.
  20. Everybody's Everything
    Devotees will appreciate a different look at their fallen idol, while those who aren’t familiar with his music might find the film a bit long at nearly two hours but will see what the appeal was to those who loved him.
  21. The Good Liar
    Perhaps the biggest bit of fakery involved is that for all its twistiness, The Good Liar’s plot, which can be more than a little frustrating, is as much of a liability as a benefit in a production where the characters turn out to be more involving than their story.
  22. Charlie's Angels
    Instead of engaging what we get is a plodding, unfocused effort with few genuine thrills to speak of, the kind of movie that would play best on an airplane when you are eager to kill time.
  23. Let It Snow
    With its cast of veteran child actors and its baked-in holiday warmth, Let It Snow has some baseline appeal. But like the formulaic Christmas movies that fill the Hallmark Channel this time of year, this film isn’t exactly a timeless classic. It’s more like something to put on in the background, while making cookies or wrapping presents.
  24. Primal
    Primal ends up being more exhausting than awesome.
  25. Light From Light
    Harrill is awfully good at ambivalence, at teasing out the feelings of people who are uncertain what they want and in no hurry to talk about it — a condition that afflicts more characters than we often see in American movies, independent or otherwise.
  26. The Kingmaker
    The Kingmaker may end on a queasy note of alarm about the Philippines’ future, but it also reminds us that we neglect the past at our peril.
  27. Mr. Toilet: The World's #2 Man
    Enhanced by playful animations, this nicely composed documentary serves as an engagingly honest profile of a driven man and his prodigious movement.
  28. Honey Boy
    Buoyed by sensitive and ferocious ensemble turns, “Honey Boy” is a cinematic salve for a tortured soul, in many regards a powerful vehicle for its star-screenwriter-subject and a vibrant narrative debut for documentary and video artist Har’el.
  29. Love Is Blind
    This is a film that’s better off unseen despite its lovely visuals.
  30. To Be of Service
    It’s hard not to be taken by these beautiful animals’ intelligence and devotion. More specifics about the dogs’ training, care and the costs involved would have been a plus. Otherwise, it’s a stirring portrait of war, duty, sacrifice and the love of a good dog.
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