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 Hedwig and the Angry Inch
Lowest review score: 0 Down to You
Score distribution:
3,656 movie reviews
  1. Birth may be the most futile application of cinematic and acting skill I've seen all year. A little "Twilight Zone" flummery would have livened up the proceedings to no end.
  2. Unfortunately, none of the characters -- despite the film's strong cast -- ever seems worthy of the attention.
  3. A mindless muddle.
  4. The mood is hermetic to the point of claustrophobia, embellished with a sense of everyday surrealism indebted to David Lynch.
  5. Lazily directed by Charles Stone III (the man behind Budweiser's "Whassup?!" campaign) from a leaden script by Matthew Cirulnick and novelist Thulani Davis.
  6. Achieves a level of hypocrisy astounding less for its brazenness than for its sheer stupidity.
  7. A soulless affair.
  8. Self-satisfied, incoherently busy farce.
  9. It has a terminal case of the cutes crossed with the labored earnestness of a disease-of-the-week melodrama.
  10. Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
  11. The direction is lazy and the script thoroughly witless, from its token Bergman references to dialogue that suggests a night in borscht-belt hell.
  12. Bruckheimer's latest is in some crucial respects worse than those earlier blockbuster bids ("Gone in 60 Seconds" and "Coyote Ugly") -- certainly it's more fraudulent -- because unlike those films, which don't claim to be about anything other than thrills and tits, Remember the Titans means to be about race.
  13. A flimsy premise to begin with, it’s been punctured beyond repair by an amateur script from Bill Kelly and director Hugh Wilson (The First Wives Club), and by Wilson’s shocking ineptitude with dialogue, framing and pace.
  14. Today's street-smart moviegoing kids don't need to be so shamelessly pandered to.
  15. Spanglish is Brooks' unqualified kitchen disaster - a desperate, shapeless, overreaching big-screen sitcom of a movie that just wants to be loved. Is that so wrong? In a word, yes.
  16. Oscillating gracelessly between the coarse and the merely saccharine, 50 First Dates, directed with zero visual or comedic flair by Peter Segal (Anger Management, Tommy Boy), showcases Sandler's cuddlier side as it reprises the tepid chemistry that he and Barrymore road-tested in "The Wedding Singer."
  17. Occasionally scary, never coherent.
  18. The best parts of the movie occur during the outtakes, which are genuinely funny. The movie proper is insufferable.
  19. There may, somewhere in the premise of Incantato, lie the inspiration for a fine farce, but under Avati's shaky stewardship, the picture is leaden and charmless.
  20. This is "Crash" with gun violence substituted for racism, although the tone of director–co-writer Aric Avelino's debut feature may be closer to one of those pious public-safety films that used to be shown to schoolchildren in order to frighten them out of potential bad behavior.
  21. Cute and smarmy are nothing new for writer-director Tom DiCillo; what is new is the crushingly unfunny fusion of the two he's hit upon for this film.
  22. In forced, quirky tedium, it drags us through love triangles, mommy issues and crying jags that make you want to shake this chick.
  23. "Legally Blonde" was a splashy, wide-screen near musical, a movie made in the spirit of Elle Woods herself. Legally Blonde 2 is Elle Woods' eulogy.
  24. British director Eric Till’s ghastly Euro-pudding co-production (with all the international accents and badly post-synchronized dialogue that implies) manages to make a travesty of its title subject.
  25. The animation is cheesy; the banter isn't funny; the score is noisy and grating; and the critters look like stuffed animals. The best that can be said for The Wild is that it's a most insincere form of flattery. The worst is that it's a sincere form of theft.
  26. Anne Heche is just another neo-noir minx on the make, while Vince Vaughn, grinning and leering as Norman Bates, sinks the movie.
  27. Fails to allow the talented ensemble time to develop "Sunshine State’s" fine, Altmanesque ensemble feel, again and again missing the human and leaving cartoons that satisfy only as agitprop.
  28. The truth is still out there, like an unsold lawn chair at a garage sale, in this just plain lousy second big-screen outing for erstwhile FBI agents Fox Mulder and Dana Scully.
  29. Lazy, infinitely silly cartoon.
  30. It's impossible to find an iota of aesthetic worth or an ounce of pleasure in this sludge.

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