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 Apocalypse Now Redux
Lowest review score: 0 Grind
Score distribution:
3,655 movie reviews
  1. It is Lynch's most experimental endeavor in the 30 years since "Eraserhead," that it will do nothing to draw new fans to the director's work and that, after two viewings, I cannot wait to see it again.
  2. The meat of the film is their wittily edited interviews with company members, now in their 80s and 90s and scattered around the world, many of them still active as teachers and consultants.
    • 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.
  3. Startlingly affecting -- What emerges is a picture of an illness that causes enormous suffering but whose origins and treatment continue to elude even those doctors who pay attention to it.
  4. Outside of "Grindhouse," it may be the most bang for your buck to be had in a Los Angeles movie theater this season.
  5. Vol. 2 is the most sheerly enjoyable movie I've seen in ages, allowing for all the intimacy that was missing from its predecessor -- this time, the violence feels PERSONAL. Yet this film, too, would be richer if it didn't stand alone, but rather were part of one grand grind-house epic.
  6. Jonathan Demme's superb film of Neil Young's 2005 performance at Nashville's Ryman Auditorium is as fervent a musical homage as was Demme's bubbly tribute to the Talking Heads, Stop Making Sense (1984).
  7. Genuine thriller -- with one crisis hurtling after another, heightened by hauntingly brief moments of peace.
    • 85 Metascore
    • 90 Critic Score
    Perfectly situated in the maelstrom of the personal and the political, Sound and Fury creates a space for serious, obstinate contention.
  8. A raucously entertaining slice of slapstick dressed up as domestic satire.
  9. The Saint works. The reason why it occasionally soars is Kilmer, an actor who’s happiest when burying himself in eccentric characterizations, a trick he performs repeatedly here even as he fills the screen with pure movie-star dazzle.
  10. The Puffy Chair is the funniest, saddest and most emotionally honest "romantic comedy" to come along in years, even if I've yet to encounter many over the age of about 35 who like the film, or even get it.
  11. Though it includes plenty of footage from those terrible days, this wonderful, devastating documentary is as much Dallaire's story as it is the story of a whole continent abandoned by a cynical world.
  12. A superb film by any measure, as deep and harsh as the sin Dillon committed to become great.
  13. It's the director's most complexly ordered film to date - a labyrinth of ids, egos and alter egos waiting around blind corners - and may be the movies' most deliriously inventive narrative spiral since "Adaptation."
  14. Tuck Everlasting is a wise and beautiful poem to the idea that the fundamental human tragedy is not death, but the unlived life.
  15. 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.
  16. Everyone plays their role (and the roles within their roles) to perfection, and writer-director Mamet keeps us guessing what's what and who's who right up until the final minute.
  17. Above all, Oshima has fashioned a tale of men among men that feels familiar at first, then moves boldly into more enigmatic terrain.
  18. The result is a glorious low-tech pleasure that may be the most lyrical, phantasmagoric boys' adventure story since Joe Dante's Explorers.
  19. Has the glorious look and immaculate technique we expect from Mann, along with a wealth of superb secondary performances.
  20. Easily the most brilliant of the genuflections bestowed on the American gangster movie by the French New Wave.
    • 73 Metascore
    • 90 Critic Score
    The result is fascinating, whether you're smitten by him or his work, or simply intrigued by contemporary thought.
  21. Here's a picture that you actually want to see a second time, not for the sake of further wrapping your head around its gnarly conceptual matrix, but because of the sheer visceral charge it provides. Here, at long last, is a summer movie -- like its precursors in the Terminator canon -- worth its weight in cybernetic organisms.
  22. This is the deepest of Jewison's three racially themed films, the other two being "In the Heat of the Night" and "A Soldier's Story."
    • 81 Metascore
    • 90 Critic Score
    An uplifting -- not to mention pee-your-pants funny -- true story of self-acceptance that should be required viewing for all TV executives and teenage girls.
  23. The result is an intelligent, moving and invigorating film, just the thing for adults bored with the shock-horror posturing to be found in the work of so many young European directors.
  24. 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.
  25. 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.
  26. The supreme achievement of this lovely film — all three rhythmic, leisurely hours of it -- is that what borders on faintly fascistic body worship in the novel instead feels as perfectly natural to us as it does to the lovers. Lawrence would kvell.

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