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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 Rollerball
Score distribution:
3664 movie reviews
  1. It’s our great good fortune, and Pekar's, that this movie -- which won the Grand Jury Prize at this year's Sundance Film Festival, followed by the FIPRESCI Award at Cannes -- is as true to the dyspeptic spirit of its source as anyone could have imagined.
  2. eXistenZ gives us Cronenberg at his wittiest, and Leigh at her most vulnerable and fascinating.
  3. A small masterpiece of tone and form.
  4. An exquisite metaphor for the high cost and higher returns of an enduring marriage.
    • 65 Metascore
    • 90 Critic Score
    From its riveting opening to its gripping conclusion, . . . So Goes the Nation is arguably the most intelligent, kinetic analysis of the modern election process since "The War Room."
  5. Testud, who learned to speak Japanese phonetically for the role, is nothing short of sublime, her expressive face morphing from tear-stained frustration to slaphappy delirium with the speed of lightning flashing across the Tokyo sky.
  6. Belongs to the small rank of hip-hop films that actually have something to say -- and that say it with both style and intellectual bite.
  7. Breathtaking stuff that freezes the toes, harrows the soul and turns the viewer's seat into a foot-wide ledge over a yawning chasm.
  8. Lucas is a major figure, and Revenge of the Sith may be some kind of historic achievement -- the first movie in which it is fully impossible to tell where flesh ends and digital paint begins.
  9. Where Okiura leads the art of animation into truly uncharted territory is in his character work, the precise behavioral strokes that bring people to life in two dimensions.
  10. It's all about having your intelligence -- emotional, spiritual, cerebral -- respected. Garcia does that; Place Vendôme does that.
  11. Perhaps because this is director Yoji Yamada's 77th movie, every aspect of his filmmaking is placidly assured and meaningful.
  12. A scathing, darkly funny political essay wrapped inside a tragic love story (or vice versa).
  13. Pi
    A triumph of low-end production design, shot in sizzling, solarized black and white, and driven by a propulsive, insinuating score, Pi is a horror movie that makes you think and an indie film that makes you squirm.
  14. Not only relates the astounding story of the expedition and its unimaginable hardships, it presents a thoughtful study of a time when there were adventurers who might actually respond to an advertisement reading "Men wanted for hazardous journey. Low wages, bitter cold . . ."
  15. Maddin's genius is so inescapably idiosyncratic that his work seems destined to remain a cult taste. Although Dracula won't change that, I hasten to add that this is the most inventive vampire picture of the last 80 years.
  16. The story is as wonderful in the showing as it is in the telling, by an African griot (oral historian) who stirs our tragicomic passage from birth to death, into a simple clay pot.
  17. The weirdest, freest-wheeling, most obsessively inventive motion picture you'll see this year. Parts are confusing, parts are berserk, parts are exasperatingly slow. But in a world of cookie-cutter movies, Maddin's movies are like nobody else's -- funny, Romantic, as deliriously overwrought as a drug lord's wedding.
  18. Brokeback Mountain is at once the gayest and the least gay Hollywood film I've seen, which is another way of saying that Lee has a knack for culling universality from the most specific identities.
    • 68 Metascore
    • 90 Critic Score
    Mike Judge’s live-action directorial debut not only whittles the high-strung festering soul of ‘90s Orthodox Corporationism down to the quick and quintessential but wraps its veins around his fingers and flosses our teeth.
    • 83 Metascore
    • 90 Critic Score
    Zooming back and forth between London and D.C., In the Loop hasn't any real plot -- it plays like a rather brilliant Brit-com stretched over 100 minutes, a collection of anecdotes and incidents.
  19. In its breathlessly claustrophobic way the movie is vital and passionate, and lit with a lyric beauty that washes over love scenes and violent acts alike.
  20. A scrupulously even-handed account, free of ideological or tribal partisanship, based on eyewitness accounts by survivors and the anonymous "Paras" themselves.
  21. With its open, spontaneous elasticity, White Oleander is that rare Hollywood film -- an attempt to understand, without judgment, a world on its own terms.
  22. His (Soderbergh's) work has taken on echoes of a classier, bygone age of cinema, at once more literate and lighthearted.
  23. Va Savoir doesn't so much flow as wander, trailing off into drama one minute, slapstick the next; it tries your patience, but ever so gently, masterfully.
  24. A 90-minute, years-in-the-making comic wind-up machine that begins by mocking its own audience for paying good money to see what it can watch at home for free and proceeds from there through the most wickedly funny arsenal of assaults on big government, organized religion and corporate America this side of "Borat."
  25. Cox's own directorial style is innocent, in the sense of being original without ever straining for effect.
  26. Indeed, one of the nicest things about this jewel of a film is that there isn't much of a story at all -- just a handful of delicately drawn characters moving through life that is at once familiar and yet slightly elevated by a director who loves the good in people more than the bad.
  27. Here is one of the best American actors (Chris Cooper) in one of his best parts.

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