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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Finding Nemo
Lowest review score: 0 Bless the Child
Score distribution:
3656 movie reviews
  1. Irish director David Caffrey and English screenwriter Jeremy Drysdale have, respectively, zero sense of pace and a tin-eared grasp of period speech, and together fail either to let us care about their characters or to create any sense of a living era.
  2. Though Green is engaging, the rest of the cast are unlikable and tediously self-involved, especially Mattison, who, not surprisingly, wrote this tripe.
  3. Directing seems an unduly elegant term for what Hollywood hack du jour Tim Story (Barbershop, Taxi) does here -- the action scenes are so choppily constructed that their excitement disappears faster than the Invisible Woman.
  4. A kind of declawed, inside-out "Final Destination" -- with none of the sense of showmanship, and all the looming malice of a mawkish condolence card.
  5. When a movie makes you wish you were watching Halle Berry in "Catwoman," something is most definitely wrong.
  6. The drama is unintentionally humorous, the humor incredibly labored and the acting rarely better than one might find in a Chi Chi LaRue XXX production.
  7. Among its other sins, the disposable romantic comedy Music and Lyrics fluffs a golden opportunity to make hay with Grant's dark side.
    • 36 Metascore
    • 30 Critic Score
    And yes, you are supposed to take this all extremely seriously; it probably sounded layered and complex when the writers were stoned.
  8. Just about the only good thing you can say about Spike Lee's pointless, didactic The 25th Hour is that it's filled with strong performances, albeit of stock characters.
    • 31 Metascore
    • 30 Critic Score
    The role requires Wahlberg to run the gamut of emotions from A to A.
  9. Without serious political and ethical stakes, the story limps to a halt, shrouded in platitude and faux drama.
    • 30 Metascore
    • 30 Critic Score
    About as unremarkable as a film about talking animals organized into competing intelligence agencies can be.
  10. An orgy of bloodletting and dismemberment that's more monotonous than shocking. Aja and Levasseur are to splatter what Liberace was to rhinestones: practitioners of gaud.
  11. Ultimately neither freewheeling enough to work as a diverting entertainment nor barbed enough to strike home as any sort of social commentary.
  12. Director Mel Smith (Bean) struggles to make up for the lack, clumsily juggling screwball dames and criminal elements, and trying to disguise the film's marked lack of vitality with split-screen tricks, jokey camera angles and a limp musical montage.
  13. If, as it appears, Rosenthal is competing with the knife-wielding Myers for the title of biggest hack, he wins by unanimous decision.
  14. Fails to allow the talented ensemble time to develop "Sunshine State’s" fine, Altmanesque ensemble feel, again and again missing the human and leaving cartoons that satisfy only as agitprop.
  15. As a first-time filmmaker who juggles such duties as writing, directing, producing, even playing piano solos on the soundtrack, Rice is in over his head.
  16. Empty details pile up, awful performance art is doled out, talking heads are intermittently identified, and the late Brandon Teena is evoked to little real purpose.
  17. Silly, derivative stuff.
    • 34 Metascore
    • 30 Critic Score
    The end result looks heavily doctored: The Sam Raimi-produced feature is a badly acted, nonsensical patchwork of fake scares, crow attacks and wall-crawling CGI spooks, capped by a DVD extra of an ending that must have the real resolution gagged somewhere in a closet.
  18. Hinges almost completely on the taut body and delectable beauty of Jessica Alba, but is otherwise so riddled with limp clichés that it doesn't even qualify as a guilty pleasure.
    • 27 Metascore
    • 30 Critic Score
    Along the way, Zen Noir commits a few crimes of its own, against noir, Buddhism and filmmaking.
  19. After enduring 30 minutes of awful slapstick, shit jokes, gags revolving around used condoms, cholo caricatures, and women who are all psychos, sluts or Latina fuck-dolls, I walked.
  20. If Napoleon Dynamite really is, as reported, a semiautobiographical exercise, it is one of the most astoundingly self-hating such exercises in memory.
  21. The movie rarely overcomes its terminal Scorsese- and Ferrara-isms, or fulfills the promise, evident in the film's early passages, that Montias might be a fine observer of local color with his own unique stories to tell.
  22. The movie is so rigged to elicit the audience's empathy that it becomes difficult to watch; it's stifling.
  23. The wet blanket of undigested autobiography lies all over Rob Reiner's excruciating new opus about a marriage winding down into terminal atrophy.
  24. Rich with comic potential that goes unfulfilled, time after stupefying time.
  25. If only the rest of the movie were as good as its cast.

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