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 6.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Apostle
Lowest review score: 0 Lower Learning
Score distribution:
3,656 movie reviews
  1. 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."
  2. Not only relates the astounding story of the expedition and its unimaginable hardships, it presents a thoughtful study of a time when there were adventurers who might actually respond to an advertisement reading "Men wanted for hazardous journey. Low wages, bitter cold . . ."
  3. Victor Vargas has the look and feel of a neo-realist masterpiece, yet captures New York with a burnished authenticity not seen since the glory days of ’70s American cinema.
  4. Genuine thriller -- with one crisis hurtling after another, heightened by hauntingly brief moments of peace.
  5. At once an emotional thriller and a domestic horror movie -- a woman's picture with a vengeance, in which the bloodletting is kept to a minimum, and ends up all the more powerful and profound for it.
    • L.A. Weekly
  6. Black's cool-headed but blistering indictment of globalization and the racist international economic policies that have shoved that country into crushing poverty.
  7. Yet Waiting for Guffman is never mean-spirited. Its weird warmth is perfectly embodied by Guest himself, whose flamboyant, stagestruck choreographer, Corky St. Clair, could have (in less ingenious hands) been a cruel, gay-bashing caricature, but instead becomes a hallucinatory Everyman.
  8. Enormously enjoyable, high-adrenaline documentary.
  9. Confidence grooves on the giddy joy of storytelling -- on the digressive whimsy of good dialogue, on playful editing, on the ways in which con men -- and filmmakers -- psych out their victims.
  10. The movie survives beautifully both as an elegant thriller and as a study of the twisted infantilism that shapes the fanatic heart.
  11. Tuck Everlasting is a wise and beautiful poem to the idea that the fundamental human tragedy is not death, but the unlived life.
    • 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.
  12. The superb ensemble never plays for sympathy, and the movie isn't as depressing as it may sound. Its hushed, contemplative quality is oddly affecting.
  13. I haven't admired a De Palma film since "Carrie," or even enjoyed one since "Scarface," so it must mean something that Femme Fatale gave me one of the best times at the movies I've had this year.
  14. Has the glorious look and immaculate technique we expect from Mann, along with a wealth of superb secondary performances.
  15. The film's real power to move flows from its low, childlike angles, which, rather than infantalize its audience, bring it down to where the hurt and fear, and hence the comfort, loom larger.
  16. A delirious fable about every creature's need for espace.
  17. Va Savoir doesn't so much flow as wander, trailing off into drama one minute, slapstick the next; it tries your patience, but ever so gently, masterfully.
    • 73 Metascore
    • 90 Critic Score
    The Coens have resurrected a hardscrabble California of wooden porches and gravel driveways, of rolling, oak-wreathed hills and one-lane roads, and of a restless people whose meager dreams are wrecked the moment money, sex or a bottle get in the way. Never has the past seemed so familiar.
  18. 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.
  19. Crowe has made a hugely entertaining, nearly pitch-perfect film about rock & roll.
  20. This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
  21. Easily the most brilliant of the genuflections bestowed on the American gangster movie by the French New Wave.
  22. This unassuming, insistently entertaining documentary has the virtue of a great subject.
  23. Disarmingly funny new film with a doozy of a twist ending... may be his best, cruelest, most vital act of confrontation yet.
  24. X
    It's all such a spectacular show.
    • 91 Metascore
    • 90 Critic Score
    Leaving the theater, you feel not only as if you've been in a foreign country, but as if you'd gone there inside someone else's skin.
  25. Just about everyone worth knowing in All About My Mother is female in spirit, which is to say they're all sexy, impossible, powerfully durable souls, quarrelsome and loyal, inventive at navigating the tragedies.
    • 68 Metascore
    • 90 Critic Score
    Mike Judge’s live-action directorial debut not only whittles the high-strung festering soul of ‘90s Orthodox Corporationism down to the quick and quintessential but wraps its veins around his fingers and flosses our teeth.
  26. Macdonald's singular achievement is to restore -- through interviews and archival footage -- the dead to such vivid life, you weep for them and for their families, who have only memories to live off.

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