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 Book of Shadows: Blair Witch 2
Score distribution:
3,656 movie reviews
  1. The movie's chief liability, though, is Rose herself, who also co-scripted with first-time director Robert Cary and who registers several notches below Nia Vardalos on the totem of unlikely double-threats.
  2. If you get your jollies from watching women being shot, stabbed and humiliated, you’ll love video director David Dobkin’s pointlessly grisly, tediously derivative feature debut.
  3. As a movie, it must stand or fall by intense chemistry between the lead characters. Sadly, as co-written by Campion and Moore, In the Cut suffers from a fatal emotional and erotic imbalance.
  4. Irons' doleful lassitude sucks the energy right out of the story and makes this listlessly directed adaptation droop all the more.
  5. That crack in Vitale's storytelling foundation would be forgivable if the writing, acting and character epiphanies . . . well, existed. As it is, not even Scotti's formidable lips can blow life into this stillborn flick.
  6. Crushingly airless film -- Food chokes on its own depiction of upper-crust decorum.
  7. The ultimate test of one's tolerance for King's self-aggrandizing postulations about writer's block, obsessive fans and the potentially frightening manifestations of the writer's id...It's just plain lousy.
  8. This new feature has replaced the original's benevolence, taste and wit with cynicism, armpit humor and manic, desperately unfunny padding.
  9. Chai's structure and pacing are disconcertingly slack. Missing the loose ends and ambiguities of actual conversation, the dialogue makes characters sound like they're delivering speeches rather than interacting.
  10. It isn't only that there is a dearth of ideas in Hollywood Ending -- however hateful, "Deconstructing Harry" was at least about something -- it's that the whole thing is almost entirely devoid of pleasure.
  11. Sitcom humor substitutes for wit, and tedious angst supplies the drama.
  12. Empty details pile up, awful performance art is doled out, talking heads are intermittently identified, and the late Brandon Teena is evoked to little real purpose.
  13. Irish director David Caffrey and English screenwriter Jeremy Drysdale have, respectively, zero sense of pace and a tin-eared grasp of period speech, and together fail either to let us care about their characters or to create any sense of a living era.
  14. The movie rarely overcomes its terminal Scorsese- and Ferrara-isms, or fulfills the promise, evident in the film's early passages, that Montias might be a fine observer of local color with his own unique stories to tell.
  15. (Lawrence)'s not just unfunny, he's coarsely anti-funny. The film just lurches from one dull skit to the next without bite or much of a point.
  16. It's bad enough that Australian writer-director Pip Karmel feels she must attempt the alternate-reality gimmick.
  17. By the last third, one is sick to death of seeing people tortured, no real catharsis is offered, and stupid is how one feels.
  18. Chandrasekhar is a master forger of images and situations from horror movies past, but unlike Wes Craven did in "Scream," he doesn't build on them in any way, and the result is the opposite of what's intended; the movie is stultifying.
  19. The pivotal secret of God's Sandbox is no secret minutes into the story, and director Doron Eran doesn't seem to know, or care much, whether he's making feminist agitprop or softcore porn. The two don't mix well.
    • 45 Metascore
    • 30 Critic Score
    Sienna Miller captures much of Edie’s physical manner and some of her voice (though she’s nowhere near deep enough), but there’s nothing she can do with material that requires her to mope and pout for the bulk of her screen time.
  20. Provides an unfulfilled promise of pleasure (providing one doesn't cave in to the spectacle of bare-chested Elizabeth Hurley sucking on an ice cube) in this heavy-handed exercise in time-vaulting literary pretension.
  21. Is there a Razzie Award for worst casting? If so, it’s one of several that can be reserved early for this fourth, spectacularly lousy screen version of Jack Finney’s 1954 novella "The Body Snatchers," which some bright light envisioned as the ideal starring vehicle for the Cold Mountain herself, Nicole Kidman, and for Daniel Craig, last seen as the most poker-faced James Bond on record.
    • 45 Metascore
    • 20 Critic Score
    Mini is too tame for Skina-max and too inane to survive on the art-house circuit. It's a pretentious erotic thriller that gives honest trash a bad name.
  22. Monumentally terrible but far too bizarre to be boring.
  23. Slight and goofy, this cut-rate attempt to mine "Harry Potterville" is undermined by its ostensible draw: the lead casting of Jonathan Lipnicki.
  24. Working from a script by David S. Goyer ("Dark City") that lacks any sense of humor or character, Snipes seems unsure if he should vamp it up or play it straight, while Dorff just plain sucks.
  25. To call the film contrived would imply that some sort of effort had been made, when Sweet Home Alabama is nothing but dead lazy and slow — y'all.
    • 45 Metascore
    • 30 Critic Score
    Meant to take the scrappy and often ingeniously choreographed dance sequences to the next level, the result is stalled between floors: Some sick moves get even sicker; some become distorted and freakishly distracting.
  26. This sort of nostalgia-drenched, sexual-coming-of-age saga has been done to death.
    • 45 Metascore
    • 30 Critic Score
    Country Strong is sillier - and more tone-deaf - than Paltrow's advice website, GOOP.

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