
Not automatically. A number on IMDb or Letterboxd is a useful starting point and a poor stopping point, because the same score can mean very different things depending on who voted, how many, and when. Before you let a low or middling number decide a film for you, it is worth knowing what the number is actually made of.
An average flattens everything into one figure, and two films with an identical rating can have completely different receptions. A 3.1 out of 5 on Letterboxd might mean almost everyone landed around three stars, a calm consensus. Or it might mean half the voters gave it five and half gave it one, a genuine split. Same number, opposite films. The average cannot tell them apart. The distribution can.
That is why the single most useful habit is to look at the shape of the votes rather than their average, which both major platforms let you do.
The two sites measure different crowds. IMDb’s audience is huge and skews a little negative; people are more likely to log a score when they were unhappy, and it has a long history of being targeted by bots and coordinated campaigns. Letterboxd skews younger and more film-literate, rates harder as a matter of culture, and leans toward indie enthusiasts. A 6.5 on IMDb and a 3.1 on Letterboxd are not two readings of the same thermometer; they are two different thermometers.
So a low number on either one is not, by itself, a verdict. It is one crowd’s snapshot, on one platform, with its own habits.
Scores move for reasons that have nothing to do with quality. The most common is review bombing, a coordinated burst of lowest-possible ratings, usually over politics or casting rather than the film, which what is review bombing covers in full. In the other direction, studios and PR firms have been caught inflating scores with paid or hand-picked early reviews. And brand-new films are the most volatile of all, before enough genuine viewers have arrived to steady the number.
A few quick checks will tell you most of what you need.
Only after you have looked at what it is made of. A low number backed by a broad, smooth distribution across thousands of votes is worth taking seriously. A low number sitting on a few hundred votes with a spike at the floor is telling you about the voters, not the film. For a real example of reading one film’s numbers this way, a score is not a verdict walks through it.
The number is where you start. Your own two hours is where you finish.