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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,655 movie reviews
    • 12 Metascore
    • 10 Critic Score
    No snob to low-brow ridiculousness when it’s actually unexpected, I’ll admit to being amused exactly once, when Zahn gets deep-throated by a gigantic prop turkey who, despite the mouthful, keeps on flapping.
  1. Barely proficient on a craft level, this jumble of putatively comic misunderstanding and overly familiar crude burlesque achieves its nadir with a cameo from Mamie Van Doren, a degrading, shameful turn that lays bare, all too literally, the filmmakers' contempt for women.
    • tbd Metascore
    • 30 Critic Score
    A toxic combination of obvious bromides and talentless filmmaking, writer-director Ted Fukuda's schmaltzy, tone-deaf romantic drama sets your teeth on edge from the outset and doesn't let up for 103 minutes.
  2. Murphy slogs his way through this dismally dull sci-fi comedy.
  3. The Master of Disguise represents Adam Sandler's latest attempt to dumb down the universe.
  4. Remarkably unfunny.
  5. Three strikes maybe, but no stars and no thumbs up (except the one way, way up its own ass).
  6. It's cynical and it's depressing, and I would lock a child in a room before I'd show him Mortal Kombat: Annihilation.
  7. This anemic genre parody from two of the six writers of "Scary Movie" strives for the goofball precision of the brothers Zucker and, long before it reaches the end of its 70-odd minutes, gives you newfound respect for the comic genius of the brothers Wayans (two of the other writers of "Scary Movie").
  8. Visually sumptuous but intellectually stultifying.
  9. As repellent as their characters are, one feels a degree of pity for the three male leads, who give fresh evidence that hungry actors can't say no to a studio feature, no matter how humiliating the script.
  10. A stinker.
  11. As for anyone else who may experience a sudden need for therapy after sitting through this, you're on your own.
  12. Director Uwe Boll (House of the Dead) pulls off a nicely staged fistfight in an open-air market at the start, but soon loses his way amid mind-glazing exposition and endless gunfire aimed at bulletproof giant lizards.
    • tbd Metascore
    • 0 Critic Score
    In 2009, its hilarious ineptitude makes it border on becoming a cult classic for the ages ... and we're not talking religious cult.
    • 9 Metascore
    • 20 Critic Score
    Meet the Spartans is a mild improvement over their "Epic Movie," which is like saying that a debilitating fever is more fun than appendicitis, but what’s shocking is how lazy it is, which is a shame for former UK child star/pop singer Sean Maguire, whose Gerard Butler impersonation is spot-on.
  13. It almost appears like a little thought went into this otherwise grim exercise in soullessness.
    • 8 Metascore
    • 30 Critic Score
    With stronger actors and real writers, this might’ve been a vintage comedy you could sink your...nope, not going there.
    • 7 Metascore
    • 0 Critic Score
    Only a moron would expect a dude road-trip-sex comedy to be more than an aggressive expression of male sexual anxiety. But really, when did women become such vile creatures.
  14. Miraculously seems a great deal longer (this is not a good thing) as it careens from shit joke to corpse joke to ass joke to dog-turd joke and back.
  15. It's a nice try, but the film remains a pinhead's idea of softcore fetish material.
  16. There are ticklish moments, but no real laughs.
    • 6 Metascore
    • 0 Critic Score
    A May-September sex farce so prodigiously unintriguing that audiences could be forgiven for stampeding from theaters to strangle its writer-director, Gary Preisler, in his sleep.
  17. That clunky, God-awful bit of exposition-heavy dialogue perfectly encapsulates all that's wrong with this dismal film.
    • 5 Metascore
    • 20 Critic Score
    First-time director Bryan Johnson's failure to resolve the film’s two moods -- psychopathic sexual brutality and light social satire -- proves fatal.
    • tbd Metascore
    • 20 Critic Score
    Dworman's comic style dangles in the abyss somewhere between sub-Woody Allen and Mel Brooks (his script borrows too heavily from both).
  18. Bad movies can be a hoot, but rather than campy, Ameer appears to be dead serious; and it's hard to feel anything but fury toward a filmmaker whose opening title sequence intersperses black-and-white flashbacks of his sexy young lovers with actual concentration-camp photos of stacked, emaciated corpses.
  19. Writer-director David DeFalco's ugly, pointless and dishonest remake of Craven's remake.
  20. Mostly, Lafferty is all about expletives and sexual innuendo of the frankest kind, some of it so raunchy (and unfunny) as to make one wonder if the parents of the film's many child actors bothered to read the script.

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