L.A. Weekly's Scores

For 3,655 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Apocalypto
Lowest review score: 0 Whipped
Score distribution:
3655 movie reviews
  1. Kids will probably enjoy the sight of huge, bumbling teddy bears -- Parents will exit wondering why this piece of unnecessary cross-promotion wasn't released straight to video.
  2. Director Rob Reiner’s atrocious cancer “comedy” marks a new low in Hollywood’s self-flagellating “things to be thankful for” tradition.
  3. Written in 60 Seconds would be a more appropriate title.
    • 33 Metascore
    • 30 Critic Score
    Miss Conception's dim view of women soon transcends unexamined and goes straight to offensive.
  4. Slight and goofy, this cut-rate attempt to mine "Harry Potterville" is undermined by its ostensible draw: the lead casting of Jonathan Lipnicki.
    • 55 Metascore
    • 30 Critic Score
    Has so many dead moments that singing spots by Gladys Knight, Pastor Marvin Winans and Mary J. Blige simply highlight, rather than alleviate, the inertia.
  5. Of course, this is just another teen movie -- with tons of dick jokes that don't know when to quit, and buckets of realistic-looking "excrement" splattered all over its "juvenile" cast, and even a couple of gags that actually fly.
  6. The biggest problem is that the character of Sabine is such a lame male fantasy of the enigmatic woman-child.
  7. This time, Zombie doesn’t appear to have many deep thoughts, so Michael doesn’t just stab his victims, he slices and chomps them into gooey pulp — an overkill motif that actually feels false to the character and quickly becomes a depressing bore.
  8. In fairness, the movie isn't the absolute worst of its kind and there's a certain charm to Butcher's amiable, puppy-eyed performance. But Michael McGowan's direction is as flat as an asphalt road, and his script is gasping for air long before it enters the final stretch.
  9. Inane uplift tale for teens.
    • 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.
  10. Kidman, who speaks Russian for much of the movie, turns in a technically impeccable performance, but the movie gets far more out of her than she out of it.
  11. A dud.
  12. Won't be of much value to anyone besides die-hard Cubs fans or the Santo family itself.
  13. Going Down is woefully lacking in the comedy (or the sex for that matter), and even some of the teens look a little long in the tooth.
  14. As reasoning, this is manipulative -- as filmmaking, it’s dull.
  15. Pretension, in its own way, is a form of bravery. For this reason and this reason only -- the power of its own steadfast, hoity-toity convictions -- Chelsea Walls deserves a medal.
  16. The film does, in the end, raise something of an existential dilemma: If you set out to make a new version of something you know to be bad, and you make something that is in fact bad, have you somehow succeeded?
  17. Directed by Swedish filmmaker Mikael Håfström, who's clearly new at the genre, this aptly named movie is riddled with obvious parallels, crude moral talking points, a script so awful it's practically avant-garde, and a vain attempt at comic relief by RZA.
  18. If only they had the courage of their crassness.
  19. Like so many movies of its kind, Dead Man's Shoes gets hopelessly lost in vicious process, and so loses all sight of anything you might optimistically call insight.
  20. Provides an unfulfilled promise of pleasure (providing one doesn't cave in to the spectacle of bare-chested Elizabeth Hurley sucking on an ice cube) in this heavy-handed exercise in time-vaulting literary pretension.
  21. Surprisingly unsexy, uninvolving affair.
  22. A horror movie that's not horrific enough, Soul Survivors plays like a "Twilight Zone" by way of "Touched by an Angel."
    • 31 Metascore
    • 30 Critic Score
    The first two-thirds are turgid enough; in the last, Ferrara begins replaying scenes we've already seen earlier in the film.
  23. A flimsy premise to begin with, it’s been punctured beyond repair by an amateur script from Bill Kelly and director Hugh Wilson (The First Wives Club), and by Wilson’s shocking ineptitude with dialogue, framing and pace.
  24. It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.
  25. As a film, it essentially bites.
  26. This depressingly uninspired action-comedy (based on the 1975–79 TV series) is Hollywood’s latest McMovie -- name-brand recognition as raison d’être or, if you will, creative bankruptcy on a very large scale.

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