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. 47 Meters Down: Uncaged
    Roberts, working with a much larger scenic and visual palette this time, seems adrift.
  2. Good Boys
    Stupnitsky and Eisenberg have deftly mined this space for laughs, and the seasoned comedy vets (“The Office,” “Year One,” “Bad Teacher”) deliver a joke-dense and highly original coming-of-age tale that’s sweet and sour in all the best ways.
  3. Where'd You Go, Bernadette
    The film is not without its problems, but its focus on the power of a mother-daughter bond and what can befall creative people when they no longer create generates considerable emotion by the close.
  4. Blinded by the Light
    The reality of intergenerational conflict is a given for Blinded by the Light, but nothing can stand up to the transformative power of the Boss. You can take that to the bank.
  5. The Angry Birds Movie 2
    The complications are ludicrous, but the movie navigates them with cheek and verve, and the jokes land with surprising consistency.
  6. Wicked Witches
    Wicked Witches is almost like a segment from an old British horror anthology. It’s simple, direct, rich in local color and dripping with irony. But it’s been stretched to about triple its ideal length.
  7. Ode to Joy
    The movie was inspired by a real person but nearly everything that happens here plays as phony.
  8. The Tracker
    Lundgren can play these kinds of driven, tortured loners in his sleep. But he still needs a story worth telling, in eye-catching locations, with action sequences that pop. “The Tracker” has none of those three.
  9. Every Time I Die
    The film works well when it’s purely existential — just telling the story of a person with a hazy memory, trying to survive long enough to understand his own life.
  10. Nekrotronic
    Nekrotronic is “fun,” but often in an off-putting, aggressive way. The Roache-Turners have prioritized fleeting moments of gross-out humor and special-effects dazzle over a controlled pace, or careful world-building.
  11. After the Wedding
    In too many scenes Freundlich prefers the arch heaviness of pained expressions in posh surroundings when what you’re waiting for is the messiness of humans letting fly after their careful worlds have been upended.
  12. Piranhas
    Piranhas drags in moments, but it jumps from scene to scene as quickly as the boys weave through Naples on their scooters. The film races at speeds so fast that viewers won’t find themselves bored, even if they’re jarred a bit by the transitions.
  13. This Changes Everything
    Perhaps inevitably because it is dealing with a big issue, This Changes Everything suffers a bit from being all over the map, touching so many bases that, though each is important, they don’t all cohere into a whole.
  14. Angels Are Made of Light
    What is life like on the ground for ordinary people in another culture, another world? That’s been the bread and butter of observational documentaries for forever, but almost never is it done with the kind of beauty and grace filmmaker James Longley brings to his Afghanistan-set Angels Are Made of Light.
  15. Scary Stories to Tell in the Dark
    f you’re not in the mood for messages or social commentary, however, “Scary Stories” is still fertile enough with its accessible gross-outs and giggle shocks to serviceably add to a legacy of kid-centric mainstream mayhem Del Toro clearly loves.
  16. Light of My Life
    A heartrending survivalist saga positioned in the proximity of Debra Granik’s indie darling “Leave No Trace” and Cormac McCarthy’s postapocalyptic novel “The Road.”
  17. The Art of Racing in the Rain
    The Art of Racing in the Rain, while a tearjerker, is a very strange movie, starting with its mouthful of a title.
  18. Brian Banks
    Conventional but effectively so, more tense and involving than might be anticipated as obstacles pile on obstacles, this emotionally affecting story knows enough not to push too hard and reaps the benefits from its relative restraint.
  19. The Peanut Butter Falcon
    LaBeouf brings the soul to The Peanut Butter Falcon, while Gottsagen brings the spirit.
  20. Socrates
    The writing by the director and co-scribe Thayná Mantesso is deft and pithy, and there’s a rawness of spirit in both the stellar central performance and the film’s social realist aesthetic.
  21. South Central Love
    South Central Love tries to deal with heavy issues with grace, but its clumsiness undercuts its message.
  22. One Child Nation
    The individual stories that make up One Child Nation, the worthy winner of the Sundance Film Festival’s grand jury prize for U.S. documentaries, illuminate an entire history of institutional corruption, medical brutality and pervasive misogyny — a history that was both masked and advanced by a national propaganda campaign of near-Orwellian absurdity.
  23. The Kitchen
    The gender politics are as appealing as the rock-solid trio of lead actors (Melissa McCarthy, Tiffany Haddish and Elisabeth Moss), even when the movie itself proves less than persuasive.
  24. La Flor
    La Flor, as sweeping and addictive as much of it is, doesn’t have the structural predictability that a more conventional serialized narrative does. It’s too freewheeling, too experimental, too eager to carve out fresh avenues of meaning. At a time when duration is no guarantee of depth, it’s the definition of a must-see.
  25. Otherhood
    Otherhood does have a few genuine and genuinely funny moments — thanks largely to its stars — but they’re overshadowed by the bad behavior of both the mothers and their sons.
  26. MOOP
    While Moop might appeal to the Burning Man die-hard set, or for aficionados of the tales of doomed, Sisyphean film productions, beyond that, it’s not much more than a minor curio.
  27. Kings of Beer
    Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.
  28. Ladyworld
    While “Mean Girls Apocalypse” sounds like a winning premise, and an incredible thought experiment, the result is something narratively slack and intensely off-putting, which no amount of excellent acting can save.
  29. Consequences
    For all its loaded potential to evolve into a gripping look at life in a correctional facility plus an atypical spin on gay longing, the film squanders much of its running time with thin, repetitive scenes of young men behaving badly.
  30. Love, Antosha
    You feel the love in Love, Antosha, that’s for sure. But you also feel something else, a sadness that is close to overwhelming. How could it be otherwise?
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