Los Angeles Times' Scores

For 11,535 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Don't Think Twice
Lowest review score: 0 Showdown in Manila
Score distribution:
11535 movie reviews
  1. Surprising and deeply satisfying.
  2. Although this quietly daring, decidedly nonjudgmental film doesn’t ask or answer a lot of questions, it paints a cumulatively vivid portrait of young love and early motherhood.
  3. There are more arguments than action sequences in What Still Remains, and though it gets more tense in its second half, the movie overall is a bit too sedate. Still, a great cast (including vets Mimi Rogers, Dohn Norwood and Jeff Kober) brings Mendoza’s ideas to life.
  4. Action star and martial artist White is full of his usual charm and wit, but he and his sparks of humor feel out of place in this otherwise dour film.
  5. 40 Years in the Making: The Magic Music Movie transcends the trippy nostalgia to deliver a moving message about the healing power of reconciliation.
  6. In the cynical worldview of BuyBust, there’s no escaping this crushing cycle of killing and corruption. That real-life message makes this wild action film more powerful, but the violence is a hard pill to swallow.
  7. Gutierrez is ultimately too enamored of his quasi-feminist, visually convulsive upending of damsel myths to let his actors enjoy themselves the way De Palma or Dario Argento would.
  8. A story of implacable grief, unlikely companionship and stunning landscapes, Gavagai is as beautifully singular a movie as I’ve seen all year.
  9. Hope Springs Eternal is fine as a leading role for Frampton, who has had small supporting roles in bigger projects such as “Bridesmaids,” but her star power far exceeds the boundaries of this limited project.
  10. Director and co-writer Jason DeVan assembled a good cast, and has solidly constructed scare sequences strewn throughout Along Came the Devil. But even at its best, the movie feels stitched together from incomplete, ill-fitting pieces.
  11. A migrant worker’s journal opens up a world for a disaffected teenager, and us, in Araby, a beautifully turned Brazilian movie that carries on as if a social-cause documentary and a folk song confessional had entered into a poignant embrace.
  12. Schwentke’s grim history lesson carries an undeniable propulsiveness. But it’s ultimately too ugly a story to be truly resonant.
  13. The Guernsey Literary and Potato Peel Pie Society is an old-school, old-fashioned entertainment, a romantic drama bursting with scenic vistas and earnest charm that contains just enough mystery to keep us involved.
  14. In its own modest way, it’s one of the year’s bravest films.
  15. Beautifully performed and penetratingly photographed, Jalilvand’s assured second feature bears the probing precision of one of those meticulous autopsies.
  16. The Island runs hot and cold, with clunky comic set-pieces alternating with moments of genuine wonder and surprise. But even at its most misbegotten, the movie’s always thoughtful, examining what we value — and why.
  17. It’s a haunting and masterful effort, but be warned: This is tough stuff.
  18. There are no spies who “dump” or “shag” anyone here, much less jump out of airplanes or buildings, but The Spy Gone North, based on the exploits of a true-life double agent code-named Black Venus, remains a taut, slowly engrossing, effectively old-fashioned Cold War thriller.
  19. In a crisp, authoritative, sometimes startlingly vulnerable performance that never lapses into dragon-lady stereotype, Yeoh brilliantly articulates the unique relationship between Asian parents and their children, the intricate chain of love, guilt, devotion and sacrifice that binds them for eternity.
  20. The Meg, stolidly directed by Jon Turteltaub (“The Sorcerer’s Apprentice,” “National Treasure”), winds up proving a fairly obvious theory about its chosen sub-genre: the more massive the shark (and the budget), the lighter the scares and the lower the stakes.
  21. As any dog lover will tell you, our four-legged friends make everything better. That’s especially true when it comes to the genial if overly familiar ensemble comedy “Dog Days,” whose four-legged stars bring out the best in the movie’s crisscross of humans — and in the film itself.
  22. Working with longtime editor Barry Alexander Brown, the director casually but fearlessly stirs things up, balancing brutal satiric comedy, unapologetic social commentary, convincing jeopardy, even appealing romance.
  23. As much a commercial for Royal Caribbean cruises as it is a dramedy about a bumpy daughter-dad reunion, Like Father swamps its workable emotional core and adept lead turns with some slapdash plotting and a raft of floating festivities.
  24. Christopher Robin finds ways to distinguish itself within its generic confines.
  25. Though made by different directors, there’s a visual language of urban detail, intimate gesture and expressively animated lighting that connects all three — they’re like sweet, sad pop songs from a supergroup with many lead performers.
  26. Dyrholm, an actress of formidable presence who expertly handles her own singing as well as the acting, gives a strong, truthful, unflinching performance that powers the film the way Christa's energy powered the bands she was in those late days.
  27. The emotional momentum...is carried along easily by Mozhdah, making a remarkable screen debut: In an instant, she can melt from trembling vulnerability to hair-pulling defiance, and in nearly every scene, we see her not just emoting but also thinking, continually renegotiating her position in a world that perceives her as tainted goods.
  28. Well-shot and well-intentioned, this drama will likely please its core faith-based audience who won’t roll their eyes at the protagonist’s name or the earnest, hackneyed dialogue. However, most others will find the movie’s script from Gianna Montelaro bland and lacking both nuance and specificity.
  29. Like its determined heroine, Night Comes On burns with a smoldering fire, a heat that is no less intense, no less effective, for remaining largely beneath the surface.
  30. Kore-eda is too polished a filmmaker for The Third Murder not to be of interest, but its focus is finally too fuzzy to compel the way the best of the director's work does.

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