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 6.1 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 C Me Dance
Score distribution:
3,655 movie reviews
  1. Wears its lack of originality in a crowded slasher marketplace like a red badge of desperation.
    • 21 Metascore
    • 20 Critic Score
    Talky and labored.
  2. The only real-life situations the movie evokes vividly are the circumstances of its own production: underrehearsed actors in hastily staged scenes speaking page after page of awkward expository dialogue.
  3. Loud, chaotic and largely unfunny (veteran actors John Witherspoon and Anna Maria Horsford seem at best indifferent to the material), Friday After Next is the graceless sodomizing of a cult classic.
  4. Made with the slick, shorthand complacency of a TV movie, Beautiful is so overstuffed with contrivance, you can hardly breathe.
  5. The only vaguely funny moments are courtesy William Fichtner, as the dead woman's husband, and Jamie Lee Curtis in full metal drag as his furtive squeeze.
  6. Opens the floodgates of cartoonish villainy and pitiful sentiment.
  7. Sometimes the predictability of a romantic comedy is reassuring, and sometimes it makes you want to scream, as with this witless wonder.
    • tbd Metascore
    • 20 Critic Score
    Dworman's comic style dangles in the abyss somewhere between sub-Woody Allen and Mel Brooks (his script borrows too heavily from both).
  8. O
    The makers of this malnourished teen drama haven't just dropped six letters from the title of Shakespeare's Othello, they have excised everything that gives the original its troubling power -- principally a point but also furious passion.
  9. By the end of this mercifully short excuse for a horror movie, you'll be wishing the beast had chowed down on the entire ensemble.
  10. When will Hollywood learn that a genre trend can last for years if itís nurtured with decent scripts? No time soon, apparently.
  11. Achieves a generic period look, but there's nothing lived-in about its rooms, nothing persuasive or necessary about its time and place -- there's no longer even a movie fan's nostalgia to give it some spark, or a reason for being.
    • 17 Metascore
    • 20 Critic Score
    By the time this dud drops on NetFlix, it'll be as obsolete as a Chia pet jokebook.
  12. A better title for this flick might have been Astigmatism: Nothing ever comes into focus long enough ... to deliver even the faintest sense of fright.
  13. Various actors deserving of better (including Zooey Deschanel, Eddie Griffin and Lyle Lovett) suffer through the undercooked material, while love interest Eliza Dushku gamely gets through both a bikini-modeling montage and a mechanical bull ride, but none of their efforts can save this film.
  14. Comes off as a desperate attempt to breathe life into dull proceedings.
  15. When Plympton isn't indulging his manias, the film just sort of nods off, and nothing much happens -- either visually or storywise -- for what seems like ages.
  16. Although rumor and marketing indicate that this is meant to be a comedy, there's little that's funny here.
  17. A degraded and degrading film, of interest only because it's symptomatic of so much that's wrong with the drearily repetitive tabloid mentality that has infected not just the news media, but the whole culture industry.
  18. Visually sumptuous but intellectually stultifying.
  19. It's bad enough that Australian writer-director Pip Karmel feels she must attempt the alternate-reality gimmick.
    • 29 Metascore
    • 20 Critic Score
    Nice try, guys . . . now give me back my 97 minutes.
  20. The booty here is 100 percent fool's gold.
    • 52 Metascore
    • 20 Critic Score
    Surprisingly few insights from the quintet, and after 90 minutes we're more familiar with the furniture of their rooms.
  21. The predicaments of this whiny, unprepossessing crew inspire about as much sympathy as a celebrity divorce.
    • 5 Metascore
    • 20 Critic Score
    First-time director Bryan Johnson's failure to resolve the film’s two moods -- psychopathic sexual brutality and light social satire -- proves fatal.
  22. Occasionally the Woo-inflected action sequences - particularly a horse stampede through town on hanging day, and an escape from a moving train - rouse the film from its anti-historic, even mythophobic torpor.
  23. It's impossible to find an iota of aesthetic worth or an ounce of pleasure in this sludge.
    • 27 Metascore
    • 20 Critic Score
    The movie layers its fatalistic drama with absurdist horseplay and a few moments of Lynch-ian mysticism, but it's an awkward mix at best; even when The Perfect Sleep is trying to be funny, it's far too self-conscious to really be much fun.

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