Los Angeles Times' Scores

For 12,073 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Rango
Lowest review score: 0 Back in the Day
Score distribution:
12073 movie reviews
  1. As Replicas races headlong toward its conclusion, the filmmakers manage to avoid every potentially interesting choice for far dumber, and far more inexplicable, conclusions.
  2. An exceedingly mild affair, The Last Laugh relies mightily on Dreyfuss’ warm charm to keep the journey rolling.
  3. The fights are leaden, so when a movie’s bid for historical verisimilitude has already stopped at backlot-acceptable, and the character development is constrained by dumb dialogue, such meager tending-to of an Asian action flick’s primary draw is nigh unforgivable.
  4. The generically titled Beyond the Night spins out a twisty mystery that becomes more engrossing as it unfolds. But writer-director Jason Noto’s drama too often proves a drearily one-note look at small-town crime, corruption and narrow-mindedness.
  5. Director Marius A. Markevicius and screenwriter Ben York Jones fail to find much of a fresh angle on genocide and widespread cruelty.
  6. Landais has made a version of Aspern that is too often uncertain and unconvincing despite the good work of his female stars. And when the actresses leave the screen and the film ventures into ill-advised flashback territory, things get shakier still.
  7. Like a lot of low-budget horror, writer-director Matty Castano’s Alone in the Dead of Night is more a case study in shrewd resource-management than it is a movie.
  8. Though Krings co-wrote and co-directed the film (the latter alongside Arnaud Bouron), “Tall Tales” lacks his usual gentle kookiness and vivid designs.
  9. Too many scenes run longer than they need to, padded out with overly folksy and reflective dialogue. But McGowan makes good use of autumnal Appalachia, staging a lot of scenes outdoors in the barren, brown hills.
  10. [Martini's] filmmaking instincts, undercut by the script’s meandering, episodic structure, prove too self-indulgent and heavy-handed to tell the kind of emotionally involving tale about post-traumatic stress disorder among returning soldiers that he clearly had in mind.
  11. The film, which debuted last year at Sundance, covers considerable, resonant socio-political ground while being anchored by the compelling performances of its’ leads.
  12. The Upside was probably never going to be a good movie, but it needn’t have been such an unfortunate, spectacularly ill-timed one, the victim of circumstances it ultimately has neither the wit nor the imagination to transcend.
  13. Communion is a heartbreaking example of a classic documentary genre — the immersive, observational film that takes a bold leap and embeds itself with a small group of people.
  14. While “Worm Valley” is generally diverting, the plotting is remedial — and devoid of whatever personality Zhang brought to his books. There’s just enough story here to support the next big special effects sequence.
  15. It’s a mostly fun, logic-be-damned ride if you just stay in the moment and don’t think too deeply as the going gets tough — which is soon enough.
  16. Despite some honest and poignant emotions and a compelling lead turn by Cybill Shepherd, Being Rose unfolds in an awkwardly constructed, herky-jerky manner that shortchanges its many characters and themes. Let’s just say the spirit is willing but the filmmaking is weak.
  17. Mullan brings edginess and gravitas to the kind of role he’s played dozens of times. Butler, though, is a pleasant surprise, departing from his usual one-dimensional action heroes to play a dramatic part — and so well that one wonders why he doesn’t do it more often.
  18. The mix of genres and the overload of characters are too much of a drag on the film. Waterston, though, is a wonder throughout, capturing the deep confusion as a woman whose life has been so upended that she wonders if she’ll ever see straight again.
  19. While this story is more likely to have impact for those who lived through the horrors of this period and Mujica’s eventual emergence as a political leader, A Twelve Year Night avoids the easy trappings of triumph-of-the-human-spirit narratives. Sometimes a human simply withstands what it’s subjected to, and that’s enough to rivet us.
  20. Propelled by lovely, engaging writing and wonderful performances, Stan & Ollie, the story of the bittersweet final bow of legendary duo Stan Laurel and Oliver Hardy, should move and delight fans of the beloved performers while enjoyably exposing the less initiated to these comedy giants.
  21. Dhont’s film is a strong debut from a technical angle, but it lacks the humanity necessary for a story of this nature.
  22. Because of the talent involved, every now and then Holmes & Watson hits on something bizarrely inspired.
  23. Destroyer is simultaneously impressive and stand-offish. Persuasively directed by Kusama and convincingly acted by Kidman and expert costars like Toby Kebbell and Sebastian Stan though it is, its determination to live exclusively at the darkest end of the street pays disagreeable dividends.
  24. It would be silly to expect this movie to achieve the cinematic equivalent of Ruth Bader Ginsburg’s brilliance, but you can’t help wishing it had more to offer than righteous speeches and stirring glances, that it put a few more ideas in your head to go with that lump in your throat.
  25. Brainy, audacious, opinionated and fun, Vice is a tonic for troubled times. As smart as it is partisan, and it is plenty partisan, this savage satire is scared of only one thing, and that is being dull.
  26. This astonishingly bad film, adapted by writer-director Raghav Peri from a novel by Michaelangelo Rodriguez, mishmashes such big topics as genocide, homosexuality, teen pregnancy, child abuse, alcoholism and mental illness into a painful, inadvertently laughable stew.
  27. The movie is all over the place and there is no attempt to weave it into a coherent whole — which is regrettable as scene for scene it often works.
  28. Passionate, tempestuous, haunting and assured, this latest from writer-director Pawel Pawlikowski explores, as did his Oscar-winning “Ida,” Poland’s recent past, resulting in a potent emotional story with political overtones that plays impeccably today.
  29. It’s a muddled, tortured miasma of a movie and also, inevitably, a fascinating one.
  30. Like any good hoofer, the South Korean musical Swing Kids is eager to please, relying on both subtly graceful moves and aggressive razzle-dazzle. Though a bit longer than necessary, the movie tells an engaging, enjoyable story, peppered with impressive dance numbers.

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