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 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Godfather
Lowest review score: 0 Down to You
Score distribution:
3664 movie reviews
  1. Ladies in Lavender oscillates between scenes so relentlessly nice they make you want to scream and others - particularly those depicting the crush Dench develops on her new housemate - creepier than anything in "The Amityville Horror."
  2. Watching Ramis struggle with his two stars is like watching someone try to juggle lead weights.
    • 60 Metascore
    • 20 Critic Score
    Pretentiously impressionistic, sloppy almost to the point of self-parody, Temple’s film is New Journalism without the journalism -- or, alas, the drugs.
  3. The one saving grace is a sweet, affecting performance by Werner de Smedt.
  4. Try as they might, the two central performers can never overcome the film's underdeveloped core, and are left flailing about amid Nutley's listless, glacial pacing.
  5. As dull to listen to as it is gorgeous to look at.
  6. Trimmed to an hour, and tucked between a documentary on snails and an episode of Coronation Street, writer-director Mark Herman's Brassed Off could prove lively watching indeed. As it is, however, his pedestrian if sweetly well-meaning inspirational about a coal-mining town done in by Thatcherism is too long, too laborious and 15 years too late.
  7. Too much of a mess to say anything with assurance, pieced together as it is from mismatched institutional movies such as "Cool Hand Luke" and "Shock Corridor" -- with "Lord of the Flies" thrown in for good measure -- and turning on plot points that simply don't wash.
  8. The director gives us not just a pop Holocaust but a prettified, palatable Holocaust.
  9. Among its other sins, the disposable romantic comedy Music and Lyrics fluffs a golden opportunity to make hay with Grant's dark side.
  10. Without serious political and ethical stakes, the story limps to a halt, shrouded in platitude and faux drama.
  11. A lurid, overheated Southern Gothic that wallows in its own unpleasantness.
  12. It is, however, Tortilla Soup's cultural transposition that feels most phony. Where Lee brings depth and subtle observation to his middle-class ensemble piece, Ripoll has simply added a thin Latino glaze.
  13. With flashbulb editing as cover for the absence of narrative continuity, Undisputed is nearly incoherent, an excuse to get to the closing bout (shot through bars and barbed wire in case we forgot the combatants are incarcerated), by which time it's impossible to care who wins.
  14. The makers of Lisa Picard Is Famous -- having mastered the obvious early on, set their sights on the unfunny and repetitive.
    • 57 Metascore
    • 30 Critic Score
    Ultimately, it's as vapid as (Michael Jordan's) perfume and as disposable as a pair of his Hanes.
    • 56 Metascore
    • 10 Critic Score
    Slowly degenerates into a gory revenge thriller that is never thrilling, but is often boring and frequently repulsive.
  15. All might have been forgiven were it not for a needlessly Shyamalanized ending that deserves to earn Wyatt at least 25 years for grand-theft cinema.
  16. The uneasy meeting of cultures is mirrored all too well in the stiff and clumsy direction.
  17. If only the whole thing were as funny as an Albert Brooks movie.
  18. The skits are dreadful, the jokes suck.
  19. The thunderous clashes between armies of computer-generated Trojans and Mycenaeans, when they do arrive, feel decidedly un-epic, as though we were watching a child's toy-box war between plastic figurines. Which makes them perfectly in line with the rest of Petersen's artless approach.
  20. The movie is monotonous, and by the time it gets to its climactic re-enactment of the Tate-LaBianca killings, it seems little more than the heir to "Survive!, The Zodiac Killer" and other unsavory 1970s horror cheapies that tried to turn a quick buck on real-life tragedy.
    • 55 Metascore
    • 10 Critic Score
    A manifesto in the form of an enormously budgeted quasi-sci-fi epic, Cloud Atlas is evidently personal, defiantly sincere, totally lacking in self-awareness, and borderline offensive in its gleeful endorsement of revenge violence against anyone who gets in the way of a good person's self-actualization. The rest of the time, it's just insipid, TV-esque in its limited visual imagination, and dramatically incoherent.
  21. The movie is so rigged to elicit the audience's empathy that it becomes difficult to watch; it's stifling.
    • 55 Metascore
    • 30 Critic Score
    Has so many dead moments that singing spots by Gladys Knight, Pastor Marvin Winans and Mary J. Blige simply highlight, rather than alleviate, the inertia.
  22. So radiantly awful that, given the egghead credentials of the director and his screenwriter and star Sam Shepard, I initially took the charitable route and assumed I was in the presence of parody.
  23. This depressingly uninspired action-comedy (based on the 1975–79 TV series) is Hollywood’s latest McMovie -- name-brand recognition as raison d’être or, if you will, creative bankruptcy on a very large scale.
  24. Singleton has neither the emotional nor intellectual depth to do justice to his thesis. He is too in awe of the stereotypical hood lifestyles and macho posturings that he's trying to critique.
  25. Schumacher has gone into the cinematic heart of darkness and emerged with his own peculiar kink on the war movie: Vietnam beefcake.

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