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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Me and You and Everyone We Know
Lowest review score: 0 BASEketball
Score distribution:
3,656 movie reviews
  1. In one of the sweetest ironies of the entire film year, Sam Raimi has made an A-movie with the soul of a B-movie classic.
  2. That tragedy looms heavily in Behind the Sun only makes its life-affirming moments -- resonate more deeply and powerfully in a film that is one of the year's best.
  3. The story's charming, the set pieces are wildly inventive, and even the throwaway one-liners, about everything from movie-animation pioneer Ray Harryhausen to the old Oscar Meyer jingle, are hilarious.
  4. Remains the most popularly successful film ever to render the inner life of an artist.
  5. 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.
    • 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.
  6. To look at Apocalypse Now is to realize that most of us are fast forgetting what a movie looks like -- a real movie, the last movie, an American masterpiece.
  7. One of the best films of the year thus far.
  8. 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.
  9. 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.
  10. 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.
  11. There are moments here that are so distinct in emotional timber it's as if they were directed by someone who'd skipped the last two decades of American genre film and opted to get back to basics -- like character, and the ways in which two actors can sit in a smoke-filled car and turn an everyday conversation into art.
  12. Mitchell retools his play magnificently, opening it up into a vibrant cinematic work.
  13. 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.
  14. Not just everything you want in a David Lynch movie, but damn near everything else you want in ANY movie.
  15. The Godfather traces the arc of this doomed idealism with a beauty that is still fresh.
  16. 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.
  17. Part poem, part jungle blossom, all brilliance.
  18. 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.
  19. Does full honor to Miyazaki’s teeming and often unsettling landscape, and to the conflicted complexity of his characters: Not a single frame was cut, and the voice casting and performances are uniformly excellent.
  20. 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.
  21. 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.
  22. This divinely eccentric movie feels as if it came straight to the screen from one man’s wild and wantonly free imagination.
  23. 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.
  24. An effortlessly complex portrayal that relishes the contradictions and complexities of someone capable of both exalted and debased behavior, a shape-shifter it is possible to be fascinated, repelled and compelled by, all at the same time.
  25. Astringently funny masterpiece.
  26. 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.
  27. 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.
  28. The Incredibles creates so seamless a mood of exhilaration that we resent being pulled out of it.
  29. 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.

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