Los Angeles Times' Scores

For 12,202 reviews, this publication has graded:
  • 56% higher than the average critic
  • 7% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Atonement
Lowest review score: 0 Waking Up in Reno
Score distribution:
12202 movie reviews
  1. The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.
  2. Birds of Passage tells a story of a traditional culture fighting for its life against incursions from the outside world, of how insidiously clan ways and spiritual values can be compromised, and it certainly has familiar elements. But the electric filmmaking, sense of tragedy and cultural specificity are far from usual.
  3. Just sit back and enjoy.
  4. Though the family-friendly comedy has all the good intentions of a motivational puppy poster, it unfortunately also has the same level of intelligence and plot.
  5. The Breaker Upperers features a distinctly New Zealand style of comedy: dry, awkward and utterly hilarious. But directors, writers and stars Jackie van Beek and Madeline Sami still give this film a wild energy that’s absolutely their own, with jokes that take the audience from giggles to cackles to all-out shrieks.
  6. The movie could use a little more energy — this is Paul Mazursky territory, after all, not Andrei Tarkovsky — but in its sick-but-sweet attempt to reclaim grief from the trappings of tradition, To Dust is its own well-measured godsend.
  7. Amid the glorious music, the fine period re-creation and burnished photography, the emotionally sound portrayal of artistic endeavor and that award-worthy turn by Berkeley, The Maestro often scores.
  8. Anchored by a quartet of fierce performances, “Donnybrook” is an intense, visceral tone poem, a rumination on money and drugs and bloodshed as a means of making ends meet in the heartland of modern America.
  9. Pig
    With its parade of finger-pointing vloggers, picture-posting stalkers and hijab-wearing, smartphone-clutching schoolgirls, Pig (“Khook”) makes it savagely clear Western society hasn’t cornered the market on selfie-centered behavior.
  10. Unlike Medem’s best films, The Tree of Blood feels way too haphazard. It hops freely between timelines and characters, such that it becomes more of a compilation of sensual, stimulating scenes than a movie with anything in particular to say.
  11. The simplicity of “Parkland” is often quite affecting.
  12. Though it never rises above the level of “interesting experiment,” the dystopian thriller The Bellwether teems with so many ideas that even the bad ones don’t weigh it down too much.
  13. From the exotic ports of call to the occasional musical numbers, Yucatán is a mostly enjoyable ride. It’s meant to be a throwback to glamorous old Hollywood movies. Like a typical American pleasure cruise, it’s a serviceable facsimile of something fancy.
  14. Within the context of a sport that thrives on artifice, writer-director Stephen Merchant spins a story whose emotions feel entirely genuine.
  15. Ultimately it all adds up to a hodgepodge of styles and attitudes with hardly any insight into what made this corrosive clique so magnetic to its adherents.
  16. The Image Book is an 85-minute cinematic brainstorm, a swirling, dazzling, maddening frenzy of disconnected sights and sounds that have been compiled and arranged according to a rhythmic and rhetorical logic that only its maker can fully divine.
  17. Like most sequels, Happy Death Day 2U can’t quite replicate the feelings of joy and discovery of the original, but Landon deserves credit for varying the tune, while still playing the hits that will please the fans of its predecessor.
  18. Isn’t It Romantic walks the line between subversive and sendup. It gleefully makes fun of the well-known tropes of romantic comedies, while also satisfying our desire to delight in said tropes.
  19. If you’re in the mood for a movie like “Alita,” “Alita” is the movie you’re in the mood for.
  20. Darkness Visible is disjointed and drags out for far too long, but it features some effectively creepy visuals.
  21. Chokehold provides a poorly written and terribly acted framework as a thin context for the action.
  22. A committed cast fails to elevate Beneath the Leaves, an otherwise draggy and derivative thriller.
  23. It’s as unfocused as its heroine, roving between subplots, but there’s still plenty to admire in this frank, funny film.
  24. Although it hardly reinvents the genre, the film, nicely directed by Hughes William Thompson, offers just enough smarts and charm to feel fresher than most in its class.
  25. Writer-director Matthew Berkowitz’s crime drama A Violent Man has all the pungent cynicism of a classic film noir but lacks the urgency. A slower-than-necessary pace drags on a movie that’s otherwise well-written and well-acted, and which makes good use of its setting in the world of mixed martial arts.
  26. The effect is like watching a bar band do a cover version of “The Amityville Horror” — spirited enough, but hardly ready for the big time.
  27. The Butler-Harts built their story around the place, and don’t squander any of the spectacular scenery. This island looks like something from a dark fairy tale — so that’s exactly what the filmmakers have made.
  28. Kern and Hennessy are always incredibly entertaining, going toe-to-toe, as Mary defies the convent’s rules and a smiling Mother Superior makes her pay.
  29. Krzykowski’s pacing and tone is off as he tries to meld his comic book instincts – visually atmospheric if susceptible to arch cheesiness — with the requirements of a small-scale drama.
  30. One Million American Dreams lacks a cohesive structure, but it is bound together by the tears and grief of the people left behind.

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