L.A. Weekly's Scores

For 3,656 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 I'm Going Home
Lowest review score: 0 Lolita
Score distribution:
3656 movie reviews
  1. Michael Schorr's delightfully deadpan comedy debut blew away the German box office, and once you let yourself sink into its gentle rhythms, as slow and deliberate as those of its protagonist and inflected with tiny but significant shifts of pace and tone, you'll see why.
  2. In its depiction of a fleeting, but nevertheless factual, peace in the Middle East, Ridley Scott's Kingdom of Heaven may seem a more quixotic Hollywood fantasy than all six Star Wars movies lumped together.
  3. So gently told, so deceptively simple a story, that its considerable emotional power sneaks up on you.
  4. A kind of folktale, rooted in poignant personal experience.
  5. Polanski, wisely, doesn't interpret or explain. He seems to have decided that in the face of such meticulously planned horror, the best one can do is get the details right.
  6. Writer-director Kasi Lemmons works fast, and the world she conjures is powerfully realized.
  7. Remarkable energy and wit, and is probably the most purely enjoyable entry in Kaufman's suboeuvre of literary excursions.
  8. A smart, quietly moving film.
  9. A remarkably moving and disturbing film about the possibility of belonging and the genealogy of violence.
  10. This won't be remembered as one of the prodigiously talented Armstrong's great films (My Brilliant Career, High Tide, Little Women), but it's still 90 percent better than everything else out there.
  11. Through masterful editing, nimble music selection and smart use of documentary materials, the filmmakers shake the dust off cultural clichés to provide a provocative survey of the past. It’s a subversively sleek enterprise.
  12. Brilliantly edited for drama and irony, The Goebbels Experiment juxtaposes little-seen German propaganda films with excerpts from Goebbels' diary.
  13. What gives Rocky Balboa its unexpected pathos is the titanic humility of Stallone's performance, the earnestness with which he plays a man knocked down (but not out) by the ravages of time.
  14. Cleverly structured, fast-paced, funny, even moving.
  15. Director John Dahl ("Red Rock West," "The Last Seduction") has a pronounced knack for snap reversals and out-of-the-blue shocks.
  16. It's cheap thrills all the way, served up with the kind of situational purity that only Carpenter seems to care for these days. It's that simple and that much fun.
  17. The movie blows a fresh wind of disrespect, high drama and lush romanticism through that stolidly middlebrow subgenre, the period drama.
  18. Kusturica's always masterful orchestration of chaos, coincidence and caricature really pays off as a sweet, soulful celebration of old friends, new loves and the mad scramble of life at the fringe.
  19. One senses that this is an intensely personal project for Binder, who is not as forgiving as he might be toward the mercurial mother. Still, the film is carried by Costner and Allen, who project a chemistry so incrementally built on reluctant camaraderie, they almost seem like siblings.
  20. The Messenger may be a caricature of theology, but then Besson is a cartoonist of genius.
  21. This is some of the best filmmaking ever done by director Richard Donner, a longtime Hollywood journeyman known more for his proficient deployment of three long-running movie franchises (The Omen, Superman and Lethal Weapon) than for his lyricism.
  22. True to its source material, this is a movie with the dense, rich texture of a good novel.
  23. Nathan Lopez, armed with a diva's slinky cat walk and determination, is absolutely fantastic as Maximo.
  24. Nolan gets his two larger-than-life leads playing off each other in the same frame (which is something Michael Mann couldn't pull off in "Heat's" pairing of Pacino and De Niro) and coaxes a melancholy turn from Pacino, an icon of angst whose real strength has always been his capacity for eloquent silence.
  25. A fresh, buoyant, mischievous and rather jolly meditation - if that's the word for a movie as divinely nuts as this one is - on the meaning of life in an unhappy world.
  26. A fetchingly improbable match of material and directors.
  27. A bracingly sarcastic political comedy -- it opens on a bound copy of Mexico's Constitution, stuffed with cash -- possessed of a baleful satiric eye for hypocrisy and greed, a delicious anti-clerical bent, and pitch-perfect comic timing.
  28. On the strength of such skillful pacing, and the pair's beautifully modulated performances (Leary's never been so warm or vulnerable), the film builds almost imperceptibly to a climax that's as moving as it is startling.
  29. A refreshing antidote to those E! True Hollywood Story documentaries on adult-film figures like John Holmes, Savannah and Traci Lords.
  30. The Girl From Paris may not have half the smooth technique of "Swimming Pool," but it has 10 times the heart and soul.

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