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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Hedwig and the Angry Inch
Lowest review score: 0 The Jackal
Score distribution:
3,655 movie reviews
  1. Part poem, part jungle blossom, all brilliance.
  2. At the end of a decade defined by much bellyaching about "the death of cinema" (including, on occasion, by this critic), Avatar concludes, appropriately enough, with an image of rebirth.
  3. No parent who's been roped into leading the troops to a matinee need fear being bored: gags are, Simpsons-like, conceived to tickle several generations at once.
  4. I suspect that Death Proof will throw some of its director's admirers for a loop, though it may be the most revealing thing Tarantino has yet done -- a full-throttle expression of a singular artistic temperament disguised, like so many gems of grindhouses yore, as a glittering hunk of trash.
  5. Not just one of the best Hollywood movies about race, but, along with "Collateral," one of the finest portrayals of contemporary Los Angeles life period.
  6. The film is a virtuosic triumph, but parlor tricks don't make movies, and it's Jackson's unwavering sincerity that elevates The Fellowship of the Ring into the increasingly rare Valhalla of the rousing, well-told tale.
  7. DiCaprio harnesses a terrific, buggy intensity reminiscent of "GoodFellas'" hopped-up Henry Hill (Ray Liotta).
  8. Japón, isn’t just the wildest eruption of the current Mexican film boom, it's the most fascinating new picture I've seen this year.
  9. What ultimately makes Before Sunset so special (and maybe the most resonant, least self-conscious “great movie romance” of its era) is its deep-rooted honesty -- the way it takes the bitter with the sweet and somehow leaves us feeling elated.
  10. The Godfather traces the arc of this doomed idealism with a beauty that is still fresh.
  11. It is the highest compliment I can pay Greengrass to say that he is a master of the mundane, the routine and the everyday.
  12. At his best, Altman turns us into interlopers who have stumbled into a world that seems to predate us and persuades us it will continue to teem with life long after we leave the theater.
  13. This isn't a profound film, or even an important one, but then it isn't trying to be. It's so diverting and so full of small satisfying pleasures, you don't realize how good it is until it's over.
  14. The Incredibles creates so seamless a mood of exhilaration that we resent being pulled out of it.
  15. One of the best films of the year thus far.
  16. This divinely eccentric movie feels as if it came straight to the screen from one man’s wild and wantonly free imagination.
  17. But for all its bleakness, Nightmare is a film that demands to be seen. In unflinching terms, it captures the hellish existence endured by the many so that the few may wallow in privilege.
  18. The bleakness and poignancy are inescapable in About Schmidt, a character study that has the emotional richness of the great Italian and Eastern European films of the 1960s, in which humor and pathos rode up and down on the seesaw together.
  19. Superman Returns is a lush and enthralling piece of adventure storytelling that's both revisionist AND reverential, putting a timely spin on a timeless character without violating his primal appeal.
  20. The deep satisfaction of The Return of the King is in surrendering ourselves to the finale, in letting Jackson's superb storytelling (with due credit to co-screenwriters Fran Walsh and Philippa Boyens) surround us like a blazing campfire tale -- which it does, gloriously.
  21. One of the great movies about childhood innocence accidentally violated by adults...Reed, an often inconsistent filmmaker, handles the brutal mechanics of the plot superbly, with the marbled interiors of the embassy contrasting sharply with his almost neo-realist outdoor shots of postwar London.
  22. What he’s (Jonze) ended up with strikes me as one of the most empathic and psychologically acute of all movies about childhood -- a "Wizard of Oz" for the dysfunctional-family era.
  23. Talk to Her is as melodramatic -- and, sporadically, as funny -- as any Almodóvar comedy, but its mood is one of muted, aching loneliness, while the color scheme leans less to hot reds and magentas than to rich, elegant shades of ochre.
  24. I’m Going Home is as much an ambiguous poem to Paris as it is a study in artistic and physical mortality, and an elegy for a more decent past as it gives way to a brassier, more corrupt new century.
  25. On a purely visual level, Finding Nemo is as gorgeous a film as Disney's ever put out, with astonishing qualities of light, movement, surface and color at the service of the best professional imaginations money can buy.
  26. Fraught with a deep sadness and sense of yearning. Yet, it is also an enormously -- at times, even uproariously -- comedic film, not because it feels any obligation to be "funny" in some contrived, screenwriterly sort of way, but because Coppola has set out to make a movie set to the rhythms of real (rather than reel) life.
  27. By turns comic and tender, tragic and absurd. But throughout, it gives off what is surely one of the greatest of moviegoing pleasures -- the sense of an artist seeing the world from some private vantage that is as original as it is truthful.
  28. Sex holds in perfect tonal balance, and without cynicism, a brew of maliciously transgressive comedy and tender sympathy for its tortured characters, all gripped by terror of love, or sex, or both.
  29. To see this seamless "reconstruction" - consisting of some 15 entirely new sequences as well as augmentations to 23 others - is to behold a masterpiece revealed.
    • 86 Metascore
    • 100 Critic Score
    High art, low comedy, hard labor and royal prerogative are here thrown together in an elegant unity, a breathtaking demonstration of Russian cinematic -- hence artistic -- brilliance.

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