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 Gosford Park
Lowest review score: 0 Grind
Score distribution:
3656 movie reviews
  1. Director Uwe Boll (House of the Dead) pulls off a nicely staged fistfight in an open-air market at the start, but soon loses his way amid mind-glazing exposition and endless gunfire aimed at bulletproof giant lizards.
  2. Honoré never gets beneath these characters' sunburned skins, and well before the end, the film tips irretrievably over into the realm of absurdity.
  3. Both character and metaphor have gone to the dogs, leaving a slew of fart and burp jokes and laying bare Dreamcatcher's driving purpose, which is to make multiplexes full of little boys yuk it up, then gross them out, creep them out.
  4. Birth may be the most futile application of cinematic and acting skill I've seen all year. A little "Twilight Zone" flummery would have livened up the proceedings to no end.
    • 45 Metascore
    • 30 Critic Score
    Sienna Miller captures much of Edie’s physical manner and some of her voice (though she’s nowhere near deep enough), but there’s nothing she can do with material that requires her to mope and pout for the bulk of her screen time.
  5. Chai's structure and pacing are disconcertingly slack. Missing the loose ends and ambiguities of actual conversation, the dialogue makes characters sound like they're delivering speeches rather than interacting.
    • 36 Metascore
    • 30 Critic Score
    This is a shameless mélange of plot elements from already generic Disney knockoffs.
  6. Fix
    The slathered-on visual textures aren’t quite enough, however, to distract us from the glib, leftie posturing, the lazy writing and the drug-deep existential platitudes.
    • 25 Metascore
    • 30 Critic Score
    Isn’t as obnoxiously awful as, say, "Epic Movie"; it’s simply not funny in the least.
  7. Insipid embarrassment.
    • 24 Metascore
    • 30 Critic Score
    Stay Alive is death porn without the porn: Director William Brent Bell's pre-gore cutaways should enrage even those horror buffs for whom suspense is irrelevant, to say nothing of the fact that the movie's only real scare tactic is playing what sounds like a reverbed electric razor on the soundtrack.
    • tbd Metascore
    • 30 Critic Score
    A toxic combination of obvious bromides and talentless filmmaking, writer-director Ted Fukuda's schmaltzy, tone-deaf romantic drama sets your teeth on edge from the outset and doesn't let up for 103 minutes.
  8. After a zippy first hour, the wackos wear out their welcome and the director, perversely, fails to show the big concert.
  9. Bruckheimer's latest is in some crucial respects worse than those earlier blockbuster bids ("Gone in 60 Seconds" and "Coyote Ugly") -- certainly it's more fraudulent -- because unlike those films, which don't claim to be about anything other than thrills and tits, Remember the Titans means to be about race.
  10. If only the whole thing were as funny as an Albert Brooks movie.
  11. No doubt, Levinson thought he was making this generation's "Dr. Strangelove." What he's actually made is a desperate, ponderous sop to progressives that caters to all of the left's worst fears about voter fraud, corporate malfeasance and the impossibility of effecting real change.
  12. Lazily directed by Charles Stone III (the man behind Budweiser's "Whassup?!" campaign) from a leaden script by Matthew Cirulnick and novelist Thulani Davis.
    • 17 Metascore
    • 30 Critic Score
    The Duffs don't even fully commit to their characters here -- they’'e seemingly undecided about whether they can get away with being shallow and bratty without ruining their family-friendly images.
  13. As a calling card for the stylistic talents of a new filmmaker, writer-director Anna Chi's first feature is a success. As drama, it's a dud.
  14. Like "Life Is Beautiful" before it, Imagining Argentina juxtaposes horrific images of torture and humiliation against gooey optimism and thinks it's saying something profound about human resilience in the process.
  15. To help Prinze sail past the eventually unbearable clichés of Kevin Falls and John Gatins' script, director Mike Tollin has assembled an impressive supporting cast.
    • tbd Metascore
    • 30 Critic Score
    Flat-footed.
  16. Director Jay Chandrasekhar (Super Troopers, Club Dread) does a fine job with the car jumps. Just try to wake up whenever you hear "Yee-haw."
  17. Feels like a movie made by men whose world views were shaped, primarily, by "Porky's" and "American Pie."
  18. This brittle little confection from director Peyton Reed (Bring It On) may drive you up the wall -- unless you're willing to settle for great frocks, stylish production design and wicked opening credits.
    • 51 Metascore
    • 30 Critic Score
    Hardcore fans will appreciate the handful of genuinely gnarly aerial sequences, but these gravity-defying stunts, which can be thrilling as part of a five-minute James Bond pre-credit sequence, grow very tedious when repeated over almost two hours.
  19. This is a decidedly bizarre movie, nicely photographed and designed -- someone spent some money -- but built entirely around dialogue so stilted and unrevealing that it’s little wonder poor LaVorgna screams it.
    • 33 Metascore
    • 30 Critic Score
    Harold’s glum overplotting squashes the sick humor and the innate fear of hospitals that gives the premise what kick it has; not even Craig McKay’s clever editing can defibrillate the preposterous ending.
  20. Where "Amores Perros" was a feast of energy, wit and imagination, 21 Grams is like a starvation diet -- a movie that wallows so profoundly in its own misery that watching it is like atoning for some sin you didn't commit.
  21. Callahan's feature debut is a one-way ticket to Palookaville.

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