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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Strippers
Score distribution:
3656 movie reviews
    • 18 Metascore
    • 30 Critic Score
    No, it’s not Caddyshack -- just swap Jews (Rodney Dangerfield) for blacks (Big Boi) and you’ve got Who’s Your Caddy?. The movie, of course, is terrible.
    • 32 Metascore
    • 30 Critic Score
    This is all really a big waste. At least the out-takes at the end are actually funny.
  1. The best I can say for Smiling Fish is that it's capable and pleasant, which ought to sound a warning note louder than if I'd said it was awful.
  2. A flat, middlebrow variation on some of the central themes of recent Iranian cinema.
  3. They only want us to play that tiresome guessing game: Is it all a dream or is it really happening? Instead, you may find yourself asking: Is this cinema or merely Cinemax?
  4. There is nothing sadder, either in real life or on the movie screen, than an unlikable idiot, and what we have with this dreadful comedy -- the longest 90 minutes of the film year -- is the sight of not one but two charm-free fools.
    • 39 Metascore
    • 30 Critic Score
    Director John Maybury showed a defter hand with the artist biopic in his 1998 Francis Bacon film, "Love Is the Devil." Here he repeatedly falls into the genre’s traps, creating an inert, claustrophobic movie.
    • 36 Metascore
    • 30 Critic Score
    The only things anyone’s likely to remember, besides Bacon’s crazy-eyes act, are John Goodman’s soon-to-be-legendary turn as a bilious bug-eyed gun dealer and a hellacious back-alley/parking-garage chase shot from a careening fender-level camera. Like much of the movie, it’s as hammily dynamic as it is impossible to swallow.
    • 40 Metascore
    • 30 Critic Score
    This superficial nonsense is easily ignored; that the movie runs out of gas at the midpoint isn't.
  5. Even the easily weepy may grow impatient with the snail’s pace of this melancholy romance.
    • 15 Metascore
    • 30 Critic Score
    The strangeness is sometimes amusing, often showy, and laid on so thick that it's difficult to make the connection.
  6. Occasionally scary, never coherent.
  7. Moves slowly and deflates completely when the over-hyped family secret turns out to be a dramatic dud. Still, it's an awfully pretty movie. Let's all summer in Maine.
  8. As repellent and repellently opportunistic a piece of work as the various shock-horror provocations (The Isle, The Coast Guard) that helped to launch this worrisome career (Kim Ki-Duk).
  9. Judging by the stilted nature of both the dialogue and acting, that's what this film is -- a thesis project better suited to a grad-night exhibition.
  10. The film means to be a darkly funny look at the perils of winning at all costs, but there's nothing dark and searching about its take.
  11. Oscillating gracelessly between the coarse and the merely saccharine, 50 First Dates, directed with zero visual or comedic flair by Peter Segal (Anger Management, Tommy Boy), showcases Sandler's cuddlier side as it reprises the tepid chemistry that he and Barrymore road-tested in "The Wedding Singer."
  12. There may, somewhere in the premise of Incantato, lie the inspiration for a fine farce, but under Avati's shaky stewardship, the picture is leaden and charmless.
    • 35 Metascore
    • 30 Critic Score
    With a little camp, this could have been fun --see "Lake Placid" or "Anaconda."
    • 57 Metascore
    • 30 Critic Score
    Ultimately, it's as vapid as (Michael Jordan's) perfume and as disposable as a pair of his Hanes.
  13. The mood is hermetic to the point of claustrophobia, embellished with a sense of everyday surrealism indebted to David Lynch.
    • 38 Metascore
    • 30 Critic Score
    In a time of darkness, under the evil reign of John Malkovich -- who sits upon a throne in a different sound stage from the rest of the cast -- a hero shall rise. But lo, there will be little rejoicing, for this dragon rider (newcomer Edward Speleers) is but a nancy boy, about as imposing as Lance Bass, and somehow in possession of the only soap and clean clothes in all the land.
  14. Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
    • 42 Metascore
    • 30 Critic Score
    Ultimately, the plot-point overload dilutes any palpable sense of dread, excitement or empathy, and it doesn't help that all the dialogue acts in service to either patronizing exposition or turgid interpersonal drama.
  15. With flashbulb editing as cover for the absence of narrative continuity, Undisputed is nearly incoherent, an excuse to get to the closing bout (shot through bars and barbed wire in case we forgot the combatants are incarcerated), by which time it's impossible to care who wins.
    • 22 Metascore
    • 30 Critic Score
    The script has all the spunk of Ikea-bookcase assembly instructions.
  16. Cosgrove and screenwriter Dean Craig aim for the kind of close-quarters chaos that John Cleese and Connie Booth turned into high comic art on "Fawlty Towers," but Caffeine's roundelay of sophomoric urination, masturbation and pedophilia gags isn't half as funny as the atrocious British accents of the largely American cast.
    • 42 Metascore
    • 30 Critic Score
    Nothing in this craven exercise... will register in the memory for longer than the walk back to the car.
  17. Achieves a level of hypocrisy astounding less for its brazenness than for its sheer stupidity.
  18. Undisciplined and overstuffed with enough surplus plot twists to make your neck ache, The Mexican affects the tousled look of a self-conscious indie.

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