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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Departed
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,656 movie reviews
  1. The film's strength and its entertainment lie in John Myhre's production design, its generally appealing cast...and, perhaps most importantly, a canny degree of self-parody.
  2. It works its magic with such exuberance and passion that the film's length becomes a part of its fun.
  3. With its open, spontaneous elasticity, White Oleander is that rare Hollywood film -- an attempt to understand, without judgment, a world on its own terms.
  4. Magnificently twisted black comedy.
  5. Ten
    One of the year's finest movies, it's not quite the masterpiece that some of Kiarostami's cultists want it to be.
  6. Melville seems to peer out from behind the camera with a reassuring wink and nod. Le Cercle Rouge is the most self-consciously cool of his famously underheated films noirs.
  7. Powerfully enigmatic study of the fundamental opacity of human relations.
  8. A scrupulously even-handed account, free of ideological or tribal partisanship, based on eyewitness accounts by survivors and the anonymous "Paras" themselves.
  9. While Parker and co-writer Catherine di Napoli are faithful to Melville’s plotline, they and a fully engaged supporting cast — have made the old boy's characters more quick-witted than any English Lit major would have thought possible.
  10. Has power not only as film scholarship, but as an inquiry into cinema's interplay with our collective memories and the nature of history itself.
  11. Eminem plays Rabbit with riveting, flamboyantly expressive intensity.
  12. 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.
  13. We're afforded the illusion of an omniscience so complete as to mark a pioneering breakthrough in movie storytelling, one not to be missed.
  14. What dazzles still about David Lynch's Blue Velvet is its total authority: Not a single false gesture. No shock delivered solely for its own sake.
  15. Terrifically entertaining specimen of Spielbergian sci-fi, incomparably better than "A.I." and as dark a movie as the director has made since "Schindler's List."
  16. His (Soderbergh's) work has taken on echoes of a classier, bygone age of cinema, at once more literate and lighthearted.
  17. In its formal daring and exquisite style, the movie is itself an act of resistance against what Godard sees as a modern triumphalist culture that turns historical truth to lies and love to images created to make money.
  18. Pi
    A triumph of low-end production design, shot in sizzling, solarized black and white, and driven by a propulsive, insinuating score, Pi is a horror movie that makes you think and an indie film that makes you squirm.
  19. A smart, seamless commentary on race, class and the expectations (or lack of) that are often attached to them. Kennedy is helped greatly by deep currents of heart and humor that pull you into the unfolding tale, and to the edge of your seat as the countdown to opening night begins.
    • 86 Metascore
    • 90 Critic Score
    Occurring as it does amid a surge of tragedy and bitterness, its comic effect is powerfully mitigated.
  20. 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.
  21. 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.
  22. A meta-horror film that hilariously parodies the genre's clichés with smarts to spare. It's also the scariest fucking movie Craven has made since the first "A Nightmare on Elm Street."
    • 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.
  23. It's a cheerfully deranged stunt, executed in a spirit of infectious lunacy that powers the resulting film to its strongest laughs, and weirdest depths.
  24. Has the sprawling canvas of an epic and the emotional heat of classical melodrama.
  25. 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.
  26. Adaptation is hardly profound, but it's one of the most soulful and loopily romantic movies I've seen all year.
  27. Bill Pope's swooping, noir-inflected cinematography is wonderfully complemented by Owen Paterson's inventive production design, a great soundtrack and the best fight choreography this side of Hong Kong. And even if this isn't "Blade Runner," it is very cool shit.
  28. Where "American Beauty" was smug and obvious in its dissection of suburban life, Judy Berlin is hilarious, heartbreaking and -- in its graciousness -- unlike any American film we've seen in a long time.

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