Los Angeles Times' Scores

For 11,335 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jackie
Lowest review score: 0 The Red Pill
Score distribution:
11335 movie reviews
  1. You don’t need to be well-versed in rom-coms to know that, in the process, Harper and Charlie will ultimately fall into each other’s arms, but getting there proves to be a slog courtesy of screenwriter Katie Silberman’s talky, sitcom-ready dialogue and director Claire Scanlon’s ponderously uneven pacing.
  2. Tag
    While Tag doesn’t get every character beat right, it nails the energy and enduring companionship that the game has engendered among the friends. It’s the kind of frothy escapist fare that goes down easy on a hot summer day, with a big old beating heart to boot.
  3. Superfly may be suffused with political fury, but it is also unapologetically awash in cheap, disreputable B-movie thrills.
  4. Though it would be unrealistic to expect "Incredibles 2" to have quite the genre-busting surprise of the original, it is as good as it can be without that shock of the new — delivering comedy, adventure and all too human moments with a generous hand.
  5. Saving Brinton is an endearing, affectionate documentary, an examination not so much of film exhibition pioneer Frank Brinton and how his life's work was saved but of the genial and humane eccentric who did the saving.
  6. None of this is as deep as it intends to be, nor will it strike science-fiction devotees as especially novel. But Sackhoff’s Mack is such a vivid, well-rounded character that “2036” still works. It’s like a stage play, crossed with one of the more philosophical old pulp magazine short stories.
  7. Not an exposé, and hardly a case of sports-as-uplift, The Workers Cup feels like a toe dip when the topic calls for at least a deep wade.
  8. Alex Strangelove is a deeply annoying failed experiment at melding a sensitive LGBTQ love story with the ethos of raunchy teen sex comedies.
  9. Rather than defaulting to either condemnation or absolution, Nancy instead holds out the fleeting possibility of love to someone who has never known it before — and asks why we should begrudge her the impulse to seize it.
  10. Energized by Offerman and Clemons, the effectiveness of the music and the emotional freshness of "Hearts Beat Loud" are finally triumphant. Sometimes wearing your heart on your sleeve is the only way to go.
  11. The sensationally gifted writer-director Ari Aster may tip his hat to the horror canon (“Rosemary’s Baby,” “The Shining”), but he has no interest in making a coy, winking exercise in horror pastiche. With breathtaking deliberation and quiet, unshowy mastery, he spins a devastating portrait of an American family in sudden, inexplicable decline.
  12. The film looks amazing, but the writing is painfully pretentious and the acting beyond stiff and amateurish, so it’s impossible to gain a foothold into this story.
  13. Neville's goal here is not so much to tell the story of Rogers' personal life, though that does get some play, but rather to detail the how and why of his success, to show the way someone whose formidable task was, in his own words, "to make goodness attractive" was able to make it happen.
  14. Though its vibe is often too meandering, A Kid Like Jake shows that even the most accepting of environments aren’t immune to the vulnerabilities and worries coursing through any well-intended parent’s soul.
  15. Breath boasts no unique truths about maturing, but its serene roar under gray skies makes it a softly roiling, ultimately affecting gem.
  16. While it scratches an admittedly reflective surface, you keep hoping the nicely photographed Maineland would have dug a bit deeper.
  17. 211
    Cage gets exactly one meme-able meltdown scene, about two-thirds of the way through the picture. The rest is a waste of time, even for trash cinema connoisseurs.
  18. Believer has a well-told, entertaining story sustaining a running time 20 minutes longer than “Drug War.” With the extra space, Lee explores the motivations of his two protagonists, working toward similar ends for different reasons.
  19. Like its developmentally-arrested, misbehaving man-children, the long-shelved source material hasn’t aged particularly well.
  20. The well-intentioned script from first-time writer-director Saila Kariat tries for emotional honesty but feels like a soap opera, and the cast doesn’t help it advance past dour melodrama.
  21. What the movie refuses to do is dazzle, or resonate, or overstay its welcome, which is another way of saying it doesn’t really linger. As “8’s” go, it could stand to be a little crazier.
  22. It’s possible to watch this movie, in other words, and feel that the series is carving out a new direction, returning to its ancient stomping grounds and sticking to a familiar holding pattern, all at the same time. Such is the repetitive, rudderless nature of so much big-budget franchise filmmaking, even with a proven talent like Bayona behind the camera.
  23. Its plot can be opaque and its characters often too remote and inscrutable to embrace, but Guilty Men, Colombia’s official Oscar entry for 2018, remains an absorbing, visually gripping crime-thriller from writer-director Iván D. Gaona.
  24. Zoo
    It all plays out more convincingly than it may sound, with McIvor layering in depth, dimension and grace. Period re-creation is also first rate and, for animal fans, there’s eye candy aplenty in the form of giraffes, lions, chimps, flamingos and, of course, one soulful elephant.
  25. For all of the manic anti-authoritarian energy that Knoxville and pals generate in Action Point, it’s not directed at anything, which renders it meaningless and leaves the film to fizzle out like a deflated balloon.
  26. A largely inspiring and transporting portrait.
  27. This dreadful indie comedy rarely replicates life, instead offering dialogue that someone thought was funny said by awful characters in the midst of inorganic situations.
  28. American Animals is not like other criminal stories and the differences make it one of the summer's freshest, most entertaining films.
  29. If Upgrade ultimately plays like a genre exercise, it’s certainly a taut, engrossing one.
  30. What seems at first like an ingenious and surprising dramatic strategy feels, by the end, like an evasion on the movie’s part, a refusal to grant its subject the unflinching honesty it deserves. A true story it may be, but no one should mistake it for a truthful one.

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