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 Japan
Lowest review score: 0 Screwed
Score distribution:
3,655 movie reviews
  1. Writer-director Gianni Amelio masterfully chronicles the ways two people can betray each other, and especially themselves, in the name of love.
  2. May turn out to be the finest American indie of the year.
  3. Above all else, though, Capturing the Friedmans is a vividly personal, devastating story of a family that was hopelessly compromised years before it was scapegoated for crimes that two of its members may or may not have committed.
  4. Payami uses an exquisitely delicate juxtaposition of long shots and close-ups, mobility and stillness, music and found sound, comedy and pathos to suggest both the longing for self-expression and communication, and its limits in a repressive society.
  5. It's an unconscionably funny sex farce that, by its end, turns into a tender and honest romance, an acute portrait of loneliness and, believe it or not, a musical. This is a movie Blake Edwards might have made.
  6. Almereyda has crafted an uncannily revealing portrait of a major American artist at work, all the more remarkable for the deceptive casualness with which it unfolds, as if Almereyda had just shown up.
  7. A terrifically clever film; has a soft-boilded heart.
  8. Honeydripper is classic Sayles cinema: an insightful sketch of assorted common folk whose criss-crossing dreams and agendas unfold against larger, more powerful (and sometimes crushing) sociopolitical and cultural forces.
  9. Ramsay has made a movie in which a universe of hopelessness and decay is penetrated by shafts of light that remake these bleak surroundings in strange and beautiful ways.
  10. Laced with brilliantly knotted ideas on race, masculinity and cults of violence.
  11. Makes no attempt to entertain us. Much of this extraordinarily tactful movie, like "Rosetta," is shot in close-up, focusing on the back of Olivier's neck, as if inviting us to see the world as he does.
    • 80 Metascore
    • 90 Critic Score
    Jolts with a quiet intimacy.
  12. Gibson has made a big, bold, nightmarishly beautiful film not just about the dawn of the Christian faith, but about the awful tendency of human communities (wherever and whenever in the world they may exist) toward self-preservation, intolerance and mob rule.
  13. As it turns out, Shrek 2 is one of the funniest movies I've seen in years. But I'm far from sure that it's a kids' movie anymore, even though, like its predecessor, it's a thoroughly sugared-up reading of the book, by veteran New Yorker cartoonist William Steig, on which both films are based.
  14. Three words of advice to those who haven't yet seen it: Run, don't walk. Composed of excerpts from hundreds of locally shot movies past and present -- from grade-A prestige pictures to unrepentant grade-Z schlock -- Los Angeles Plays Itself serves as Andersen's exhaustive but never exhausting attempt to reconcile the myriad identities of the world's moviemaking capital.
    • 84 Metascore
    • 90 Critic Score
    Tanovic steers his story away from feel-good brotherhood clichés and toward the darker reaches of human nature. The principal cast is excellent.
  15. Exquisitely calibrated domestic drama.
  16. A trenchant American satirist in his previous films, Payne moves in a different direction with Sideways -- one less mordant but just as pointedly observant.
  17. Disarmingly funny new film with a doozy of a twist ending... may be his best, cruelest, most vital act of confrontation yet.
  18. Lilya is the more genuinely unsettling film because Moodysson seems to actually know something of what it is to take and stumble beneath a crushing blow. You feel that here. And you feel it for days after.
  19. The movie is thrillingly subjective, teeming with the fullness of everyday proletarian life that one finds in the work of the directors who most influenced Marston in the making of this movie: Hector Babenco and the Brazilian realists, Ken Loach and Mike Leigh.
  20. The deeper strength of Smoke Signals rests on the sensitivity and truthfulness of Farmer’s performance as the ebullient, self-hating alcoholic father, and that of Irene Bedard as the young woman he knew in later life.
  21. Like Proust's madeleine unleashing a flood of reminiscences in the narrator of his novel, Wong works the elements of his aesthetic — music, beautiful people and emotion — into a mood that so overtakes you it's nearly impossible to emerge from his films without feeling slightly drunk.
  22. Ten
    One of the year's finest movies, it's not quite the masterpiece that some of Kiarostami's cultists want it to be.
  23. To Be and To Have works in the grandest tradition of documentary filmmaking -- it keeps company with a small, specific place going about its business, and from it parses the whole world.
  24. In a film that verges on greatness, it is a sign of terrific faith, as well as of Anderson's promise as a director, that when one of the characters in The Royal Tenenbaums wears hospital pajamas after a detour into grief, the words over his heart read "recovery area."
  25. Culkin, a revelation here, mines every last nuance of the confusion and anger that results. Bursting with grenadelike one-liners and full-bodied performances, particularly from Sarandon (batty) and Goldblum (creepy) -- Igby Goes Down inaugurates a career that should be well worth following closely.
  26. The film unfolds at a deliberate pace, with a soundtrack occupied less by dialogue than by the sounds of water flowing and crickets chirping. And if you listen carefully enough, you might just hear the sound of one hand clapping.
  27. Has the sprawling canvas of an epic and the emotional heat of classical melodrama.
  28. It works its magic with such exuberance and passion that the film's length becomes a part of its fun.

Top Trailers