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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Departed
Lowest review score: 0 BASEketball
Score distribution:
3655 movie reviews
  1. The predicaments of this whiny, unprepossessing crew inspire about as much sympathy as a celebrity divorce.
  2. Won't be of much value to anyone besides die-hard Cubs fans or the Santo family itself.
  3. O
    The makers of this malnourished teen drama haven't just dropped six letters from the title of Shakespeare's Othello, they have excised everything that gives the original its troubling power -- principally a point but also furious passion.
  4. The script is painfully underbaked, and director Bille Woodruff (Honey) continues to raise a question: How can someone from a music-video background have absolutely no sense of rhythm, timing or pacing?
  5. Replete with false dilemmas, assisted by a dreadfully stagy screenplay and directed with all the animation of a tableau vivant, Metroland is such a draggy bore.
    • L.A. Weekly
  6. The result is a soulless piece of product, an ungainly hybrid of sketchy hand-drawn characters in blocky CGI environments, derivative at just about every level.
    • 52 Metascore
    • 20 Critic Score
    Surprisingly few insights from the quintet, and after 90 minutes we're more familiar with the furniture of their rooms.
  7. Of course, it's terrible -- but did it have to be this bad?
  8. This brittle little confection from director Peyton Reed (Bring It On) may drive you up the wall -- unless you're willing to settle for great frocks, stylish production design and wicked opening credits.
  9. Achieves a generic period look, but there's nothing lived-in about its rooms, nothing persuasive or necessary about its time and place -- there's no longer even a movie fan's nostalgia to give it some spark, or a reason for being.
  10. Black Snake Moan is, at its core, a fairly straightforward variation on George Bernard Shaw -- "Pigsfeetmalion," if you will. One day, when he outgrows his terminal adolescence, Brewer might be the perfect filmmaker to tackle Faulkner or Tennessee Williams.
  11. A lobotomized updating of "A Midsummer Night's Dream."
    • 52 Metascore
    • 20 Critic Score
    Dull, tacky docudrama
  12. As Bomb snakes its way toward tragedy, it grates rather than entices. The actors come off more as poseurs than as characters, and the film's political and cultural insights are superficial and old hat.
  13. An orgy of bloodletting and dismemberment that's more monotonous than shocking. Aja and Levasseur are to splatter what Liberace was to rhinestones: practitioners of gaud.
  14. This feels like a movie that was grown in a petri dish -- poked and prodded with all manner of overcooked symbolism and thesis statements, but fatally absent the genuine human emotions about which it incessantly prattles on.
  15. Like so many movies of its kind, Dead Man's Shoes gets hopelessly lost in vicious process, and so loses all sight of anything you might optimistically call insight.
    • 51 Metascore
    • 30 Critic Score
    Hardcore fans will appreciate the handful of genuinely gnarly aerial sequences, but these gravity-defying stunts, which can be thrilling as part of a five-minute James Bond pre-credit sequence, grow very tedious when repeated over almost two hours.
  16. Some will see this as a movie about how we're all God’s children. I saw only the misanthropic fulminations of Jensen's runaway ego.
  17. Kidman, who speaks Russian for much of the movie, turns in a technically impeccable performance, but the movie gets far more out of her than she out of it.
    • 51 Metascore
    • 30 Critic Score
    What's most grating, though, is how the film pretends to be an inspiring story about one ordinary guy's pursuit of a quixotic dream to meet his muse, when in fact Herzlinger's adoration of Drew is considerably less heartfelt than his infatuation with himself.
  18. In fairness, the movie isn't the absolute worst of its kind and there's a certain charm to Butcher's amiable, puppy-eyed performance. But Michael McGowan's direction is as flat as an asphalt road, and his script is gasping for air long before it enters the final stretch.
  19. Mike Myers wrote the abominable script, plays both leads and is miscast in each.
  20. At once illogical and insultingly stupid, filled with dead-end twists and the sort of dialogue that makes a mockery of actual adult relations.
    • 51 Metascore
    • 30 Critic Score
    There's no excitement or terror in watching the 3-D execution of 2-D actors giving 1-D performances, just the steadily diminishing returns of the same eye gouge delivered ad infinitum.
  21. He (Berlanti) shoots for bland entertainment and scores.
  22. Heartless piece of ill will.
  23. What Jackson's Shaft can't do is talk the talk, or much of anything else, in director John Singleton's feature-length insult to one of the more cherished modern screen icons.
  24. A surprise hit in Thailand, the film is nonetheless a reductive mess.
  25. Barely competent. The pacing never accelerates beyond sluggish, and Lesnick's script is an awkward pile of gag lines.

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