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 7.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Fallen Idol (re-release)
Lowest review score: 0 Igor
Score distribution:
3664 movie reviews
  1. This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
  2. A tight blend of self-awareness, humor and fear.
  3. A well-chewed gumbo of every lawyer flick you’ve ever seen.
  4. Less a movie about stepfamilies than a PSA about how cancer makes everyone behave themselves at Christmas.
  5. Williams is a great clown, and Oedekirk and Shadyac give him room to really cut loose, and cure the movie. That’s as it should be.
  6. Thou shalt not covet any thing that is thy neighbor's. Maybe DreamWorks should stop trying to be Disney.
  7. 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.
  8. Good fun, though not more than up-market situation comedy studded with the usual leaps out of period-speak to swipe at contemporary Hollywood.
  9. A beautifully off-center movie.
    • 64 Metascore
    • 50 Critic Score
    With its young-vs.-old plot conflicts, its vid-game-reminiscent setups and its prominent positioning of a 12-year-old in the cast, the ninth Star Trek movie explicitly stalks kids, and probably snares neither them nor their parents.
  10. As mean-spirited toward its working-class characters, especially its women, as it is profoundly unfunny.
  11. Anne Heche is just another neo-noir minx on the make, while Vince Vaughn, grinning and leering as Norman Bates, sinks the movie.
  12. The most pleasure to be had from this high-tech bore is to compare the Disney world-view evidenced here (the triumph of collectivism) with that of DreamWorks’ own creepy-crawler animation, “Antz” (the triumph of individualism).
  13. Pitched as a black comedy, the film thus far seems to have divided audiences between those who think it unaccountably hilarious and those who see it as the latest manifestation of what might be called the new nihilism.
  14. Written by Vince Gilligan and directed by newcomer Dean Parisot, Home Fries is far too cute and eager to please, but Barrymore and Wilson are charming, and O'Hara is a blast.
  15. Writer-director Kirk Jones has the movie roll over, fetch and chase its own tail in order to make you love it.
  16. Celebrity is one of Woody Allen’s finest. This is a minority opinion….But I prefer Allen when he works in a minor key – “Broadway Danny Rose,” “Radio Days” --precisely because he’s not trying to be profound, only true to firsthand observation.
  17. This paranoid thriller has all the failings we expect...but Enemy of the State also has enough wit, talent and narrative thrust to mostly transcend those flaws, at least until that ludicrous finish.
  18. Meet Joe Black is a hefty three hours long, and just so you know, it is at least two before Claire Forlani, as the Parrish daughter, Susan, unbuttons Pitt's shirt.
  19. It's noisy, it's flashy, and it's deadly dull -- without the goofball, horror-nerd energy of Kevin Williamson, who wrote the first film, this essentially storyless picture, written by Trey Callaway and directed by Danny Gan-non, revolves doggedly around Hewitt's tits.
  20. Bollywood meets The Godfather.
  21. The pre-posterous plot is a far-fetched way to dis-cuss the power and meaning of the Consti-tution in the context of international terror-ism.
  22. Writer-director Todd Haynes (Safe, Poison) still makes movies like a first-time filmmaker afraid he won't get another chance; he crams every idea, every image ever dreamed, onscreen.
  23. Of course it's dumb, but every 10 minutes or so, it's also pretty funny.
  24. Curiously, one of the film's stranger effects is that it's more convincing as a meditation on desire and Hollywood than as a biographical exploration.
  25. Director Tony Kaye may be reaching for opera, but screenwriter David McKenna has set his sights distinctly lower.
  26. LaGravenese (writer of "The Fisher King," adapter of "The Bridges of Madison County," making his directorial debut) eschews distractions of style and molds our attention to the performances.
  27. There's a surprising amount to relish about this gleefully self-conscious, disposable romp through horror's sexiest subgenre, mainly the film's grasp of its own terms.
  28. The director gives us not just a pop Holocaust but a prettified, palatable Holocaust.
  29. The results are charming if rarely thrilling, with outstanding performances from Joan Allen and William H. Macy.

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