L.A. Weekly's Scores

For 3,664 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Life of Brian (re-release)
Lowest review score: 0 C Me Dance
Score distribution:
3664 movie reviews
  1. This loving throwback to the paranoid thrillers of the ’70s is a beauty.
    • 38 Metascore
    • 40 Critic Score
    From its less-than-special effects to its rushed ending, this whole endeavor is a lazy, wasted emasculation of a beloved series deserving of more thoughtful treatment. Guess they have four more books left to get it right. Oh, joy.
  2. The famously lovely mug of Tilda Swinton (cast as Kurtz’s wife) merely distracts, and I couldn’t help feeling that this potent story would have been far better served by a straight-ahead documentary.
    • 44 Metascore
    • 50 Critic Score
    Johnson’s a good actor, but it would take the ghost of Laurence Olivier to convince us that a grown man could legitimately fall for this brat.
  3. The Last Winter won’t win many fans among those who place the saving of union jobs above the repairing of the ozone layer. But this is a horror movie with many inconvenient truths to tell about the ways in which we are willingly destroying our planet.
    • 19 Metascore
    • 40 Critic Score
    Though he’s known for his mildly edgy standup, someone in authority has decided Cook would be well-suited for fluffy romantic comedies, but like last fall’s Employee of the Month, Good Luck Chuck is so undistinguished that it feels like an extended screen test.
    • 41 Metascore
    • 70 Critic Score
    This is wall-to-wall mayhem that dashes from one stylish, splattery, nonsensical set-piece to the next, while the star attacks her silly role with the carnivorous brio of an ocelot clawing a side of ham.
    • 45 Metascore
    • 40 Critic Score
    Unfortunately, this film doesn’t have the cojones to take the fairy tale all the way and have Rachel marry Sydney’s dad (or cast actual dwarfs). But director Joe Nussbaum knows his dorkdom, and nails it.
    • 33 Metascore
    • 30 Critic Score
    This one’s for connoisseurs of the “totally preposterous crap” school of fantasy cinema.
    • tbd Metascore
    • 30 Critic Score
    Moving McAllister is a perfect storm of low-budget indie conventionality: a witless road comedy suffused with tons of phony Americana and forced romance featuring sheltered young white people whose minuscule worries about jobs and relationships are as inconsequential as the film’s negligible worldview.
  4. It’s a History Channel or PBS special that’s leaped the fence from the boob tube onto the big screen. And it’s riveting.
  5. Under Mangold’s sure if uninspired hand, the new Yuma is reasonably exciting and terse, and, like its predecessor, built around a memorable villain of ambiguous villainy.
  6. This horror comedy is loaded with decapitations, bodies torn in two and spewing blood, and yet, unlike the grim, torture-filled gore-fests of late, Hatchet’s mayhem is so giddily over-the-top that you end up applauding the low-budget aplomb of it all.
    • 52 Metascore
    • 60 Critic Score
    Engages on a narrative level; however, Chokling’s direction fails to give the story any period texture or visceral emotion.
  7. There is nothing sadder, either in real life or on the movie screen, than an unlikable idiot, and what we have with this dreadful comedy -- the longest 90 minutes of the film year -- is the sight of not one but two charm-free fools.
  8. Superb documentary.
    • 36 Metascore
    • 30 Critic Score
    The only things anyone’s likely to remember, besides Bacon’s crazy-eyes act, are John Goodman’s soon-to-be-legendary turn as a bilious bug-eyed gun dealer and a hellacious back-alley/parking-garage chase shot from a careening fender-level camera. Like much of the movie, it’s as hammily dynamic as it is impossible to swallow.
    • 41 Metascore
    • 50 Critic Score
    It isn’t particularly funny. Mocking lesbians for bad bongo-beating poetry, for instance, just ain’t fresh, interesting or even especially offensive.
    • L.A. Weekly
    • 47 Metascore
    • 80 Critic Score
    Horrific as it is, Halloween isn’t so much a horror film as a biopic, and a superb one at that.
    • 61 Metascore
    • 40 Critic Score
    For a movie whose bad guy bamboozles unsuspecting Latinos with false promises, Ladrón could be cited for precisely the same offense.
    • 38 Metascore
    • 30 Critic Score
    1. Balls of Fury is a movie about: a. A former table-tennis prodigy enlisted by the FBI to infiltrate the underground pingpong tournament of a legendary Chinese criminal. b. Suppository jokes.c. Little worth discussing and even less worth seeing.
  9. It is the point -- and the power -- of Deep Water that the vast, unknowable fathoms of the sea are rivaled only by those of the human psyche.
    • 40 Metascore
    • 40 Critic Score
    We’re too bored to have fun.
    • 56 Metascore
    • 70 Critic Score
    It may be a stretch to call this mugging moron sympathetic, but it’s surprising how enjoyable Mr. Bean can be when he’s actually given a hint of humanity.
    • 36 Metascore
    • 20 Critic Score
    War
    What is it good for? Absolutely nothing. Offering neither the enjoyably preposterous auto-heroics of the Transporter movies nor the lithe, legible athleticism of even second-tier Hong Kong thrillers.
  10. Like most of the men in the film, we would happily follow her anywhere.
  11. It weaves its familiar story with some fresh textures and even manages to invest the conflict on the field with a resonance that transcends the tick-tock turnover of the numerals on the scoreboard.
  12. There’s no denying the sharpness of his (Jason Kohn) insights into a society that hasn’t so much collapsed as reconstituted itself around venality, profiteering and rage.
  13. Fascinating.
    • 63 Metascore
    • 80 Critic Score
    Ultimately a triumph of redemptive ideas that DiCaprio ­-- God bless his celebrity -- may finally succeed in transporting from the environmental fringe to the mainstream moviegoing audience.

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