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 7.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Toy Story 2
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
3664 movie reviews
  1. This Hannibal is a stick-in-the-mud altogether lacking in the wit, gourmet appetites and romantic flair required of any surrogate for Sir Anthony Hopkins. By the end of two full hours, it's only Harris' head you long to see on a plate.
    • 65 Metascore
    • 30 Critic Score
    Blakeson's feature-length calling card has storyboarded austerity and sadomasochistic promise but in the end lets the game play out in a familiar flurry of double-crossings, two-timings and false deaths, content to only fetishize itself.
  2. Or
    Doggedly refusing artifice as if cinematic beauty were a filthy capitalist plot, Yedaya drowns her characters in realist grit, a colorless screenplay and no score to speak of, rendering this open book of a movie alienating in all the wrong ways.
  3. Nepotism can't account for the movie's stylistic horrors. Writer-director Arjun Sablok, a TV veteran with visual ADD, has pitched the candy-colored cuteness at a frenzy that verges on hysteria.
    • 45 Metascore
    • 30 Critic Score
    Meant to take the scrappy and often ingeniously choreographed dance sequences to the next level, the result is stalled between floors: Some sick moves get even sicker; some become distorted and freakishly distracting.
  4. The result is a soulless piece of product, an ungainly hybrid of sketchy hand-drawn characters in blocky CGI environments, derivative at just about every level.
  5. Remarkably unfunny.
  6. The clammy eccentricity on display -- is like a wet blanket, while Colin Friesen's lazy screenplay has all the wit of a slushball. "March of the Penguins" was funnier and edgier.
  7. Even when the film does strike some genuinely heart-tugging notes, they’re invariably shattered by such ham-fisted lines as “You really are blind.” At times, it’s enough to make you wish you were deaf.
  8. As dull to listen to as it is gorgeous to look at.
  9. It's amazing that anyone still thinks this kind of shit can fly.
  10. This is "Crash" with gun violence substituted for racism, although the tone of director–co-writer Aric Avelino's debut feature may be closer to one of those pious public-safety films that used to be shown to schoolchildren in order to frighten them out of potential bad behavior.
  11. The film portrays a family undone by grief over the death of a loved one; that, in any event, is its plot synopsis. More accurately, the film is a wallow of authorial narcissism, and a tedious, unrelenting, uninteresting wallow at that.
  12. Anne Heche is just another neo-noir minx on the make, while Vince Vaughn, grinning and leering as Norman Bates, sinks the movie.
    • 45 Metascore
    • 30 Critic Score
    Country Strong is sillier - and more tone-deaf - than Paltrow's advice website, GOOP.
  13. Not quite aptly titled, but close, writer-director Ryan Schifrin's cheapo horror opus pits everyone's favorite hirsute hominoid against the denizens of a remote town nestled at the base of a mountain called Suicide Peak. It's not much of a contest.
  14. Despite the film's aspirations to soul healing, its uplift remains mechanical, like an escalator's.
  15. Never quite deciding if it wants to parody or uphold the ongoing cultural romance with the Pimp, Pootie Tang mostly feels like a sad retread.
  16. About the only good thing to say about this mess is that it's rotten enough that even Altman cultists may be forced to reconsider their devotion.
    • 28 Metascore
    • 30 Critic Score
    Directed lifelessly by sitcom vet David Kendall (Growing Pains), Dirty Deeds never shows real curiosity about its characters' pubescent world.
  17. V for Vendetta is a dud - far too long at nearly two and a half hours, with flat, grungy visuals, choppy editing and no sense of urgency. But as a political work, it's something else - heavy-handed, reactionary and flat-out stupid. (For the record, Moore has publicly distanced himself from the film, saying it bears precious little resemblance to his original creation.)
  18. Long-shelved 2001 clunker.
  19. In the end it's only "The Chanukah Song, Part 3," playing over the closing credits, that manages to capture the joy of the season.
    • 21 Metascore
    • 30 Critic Score
    This movie's already been entertaining (or boring) airline passengers for months.
    • 19 Metascore
    • 30 Critic Score
    FX whiz John Bruno (Terminator 2, True Lies) makes a dubious directorial debut here, juggling monsters that are icky but not scary; an out-of-control Donald Sutherland as the tug’s Ahabesque captain.
    • 42 Metascore
    • 30 Critic Score
    Cheap, shoddy, crass and depressing fun for the whole family -- by which I mean 8-year-old boys.
  20. While Gens can splatter gore with the best of them -- early in the film, a human body packed with C4 goes off in graphic detail -- he fails to stage so much as a single rousing action scene, even when he has four double-fisted swordsmen facing off inside an abandoned subway car. Game over. The audience loses.
  21. This anemic genre parody from two of the six writers of "Scary Movie" strives for the goofball precision of the brothers Zucker and, long before it reaches the end of its 70-odd minutes, gives you newfound respect for the comic genius of the brothers Wayans (two of the other writers of "Scary Movie").
  22. Overblown melodrama, as muddle-headed as it is palpably sincere.
  23. It's one of those rare movie failures that truly warrants being called ambitious.

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