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. Black's cool-headed but blistering indictment of globalization and the racist international economic policies that have shoved that country into crushing poverty.
  2. A meta-horror film that hilariously parodies the genre's clichés with smarts to spare. It's also the scariest fucking movie Craven has made since the first "A Nightmare on Elm Street."
  3. Melville seems to peer out from behind the camera with a reassuring wink and nod. Le Cercle Rouge is the most self-consciously cool of his famously underheated films noirs.
  4. A great sports drama first and a heart-wrenching triumph-over-adversity weepie almost never.
    • 73 Metascore
    • 90 Critic Score
    A rare treat -- a mix of politics that avoids reductive simplicity and a story that's entirely engaging.
  5. Superbly adapted by Fred Schepisi from the Booker Prize-winning novel by Graham Swift, Last Orders pays quietly passionate tribute to the unsung working-class generation that fought World War II and survived to take up apparently humdrum lives.
  6. This fluidly paced film, with its keen observation of the confused longing for love, family and stability in an inherently unstable world, nonetheless keeps faith with the Czech genius for holding the tonal line between tragedy and the absurd.
  7. It makes a convincing argument that Dowd's personal history is a kind of history of the 20th century itself, encompassing the era's art, science, commerce and politics.
  8. Adaptation is hardly profound, but it's one of the most soulful and loopily romantic movies I've seen all year.
  9. The result is a film marked by eruptions of brutal violence, but also passages of extraordinary tenderness.
  10. Up
    Up emerges as a gentle hymn to adventure of both the soaring, storybook variety and the smaller, less obvious kind -- the perilous, unpredictable and richly rewarding journey of ordinary, everyday life.
    • 80 Metascore
    • 90 Critic Score
    The Maverick's sequence is perhaps Giants' most viscerally exciting and poignant.
  11. The kind of art film that's rarely seen anymore -- the kind that trusts the audience to be as intelligent as the director.
  12. This superb debut feature by Korean-American director So Yong Kim seems to be constructed entirely of the ineffable and intangible, those fleeting moments that most movies treat as throwaways.
  13. Macdonald's singular achievement is to restore -- through interviews and archival footage -- the dead to such vivid life, you weep for them and for their families, who have only memories to live off.
  14. What Harris extracts from himself is nothing less than a psychological nude scene, sustained across two hours.
  15. Ghobadi's genius seems supercharged rather than weighed down by his higher calling, and his imagery is so boilingly alive that we come away from it feeling exhilarated rather than depressed.
  16. Scaled like an epic but possessing the narrative simplicity of a fable, The Warrior unfolds over a brisk 85 minutes of screen time, keeping dialogue to a minimum as it celebrates the power of stories told through handcrafted, CGI-free images.
  17. Like two of the year's other standout American films, Kelly Reichardt's "Old Joy" and Ryan Fleck's "Half Nelson," it's a movie of ideas in which the ideas flow effortlessly out of the material instead of being plastered on top with a heavy cement roller (as in "Crash," "Babel" and "Little Children").
  18. AKA
    So never mind the Xmas schlock -- go treat yourself at once to this sensationally entertaining soul food.
  19. Bill Pope's swooping, noir-inflected cinematography is wonderfully complemented by Owen Paterson's inventive production design, a great soundtrack and the best fight choreography this side of Hong Kong. And even if this isn't "Blade Runner," it is very cool shit.
    • 85 Metascore
    • 90 Critic Score
    Hero is an epic, evocative of another epoch and of landscapes beyond time. It's overwhelming. And yet I miss the animating anger of Zhang's early masterworks, in which penniless young lovers were oppressed by impotent old men.
  20. Razor sharp and funny as hell, Incident at Loch Ness is the harpoon hurled into the hot-air balloon of “reality” entertainment.
  21. By staying focused on the children -- frightened evacuees from the London Blitz whose parallel war in Narnia both taps into and finally quiets their unspoken terrors -- Adamson keeps faith with the humanity of Lewsis' tale.
  22. Snakes was the most exuberantly trashy delight of this summer movie season or last.
  23. Seattle filmmaker James Longley's poetic essay on the plight of ordinary Sunnis, Shiites and Kurds trapped in a war simultaneously waged over their heads and in their faces stands head and shoulders above an overcrowded field of documentaries about the Iraq war.
  24. X
    It's all such a spectacular show.
  25. Lovely, lovely, lovely.
  26. Leonard Schrader adapted the screenplay from the novel by Manuel Puig, and his fearless willingness to explore every corner of human nature serves what is greatest and sweetest in the performances of William Hurt and Raul Julia.
  27. For all its simplicity, however, the film is entertaining, even uplifting, with Lopez giving a stellar, confectionary performance.

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