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 7.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 The In Crowd
Score distribution:
3656 movie reviews
  1. Directed by Donald Petrie ("Miss Congeniality") with about as much substance and style as a ham sandwich. It's a heavy hand that damps down such airy creatures as Hudson and McConaughey.
  2. The editing looks like it was done in a blender, and the images of death and grief are so genre-primal that the Pangs hardly bother with dialogue.
    • 44 Metascore
    • 10 Critic Score
    As a satire of France's recent turn to the right, Frontier(s) is both hysterical and muddled; as straight-up splatter -- a Grand Guignol concerto of scalding steam, slashed tendons and table saw, with a solo for exploding head -- it's as relentless as it is hateful, hammily directed and derivative of the dreariest slop in contemporary American horror cinema.
  3. An exploitation flick, but without the thrills or cleavage.
  4. Cage's avenger is named Milton; this reference to the author of Paradise Lost is the sole hint that Old World culture ever existed in Drive Angry's convoy of hyperbolized-unto-parody Americana: bad drawls, obese gawkers, roadhouse demonology, coochie-cutter shorts, and engines revving under guitar stomp.
  5. Shakily cobbled together from stock footage and new interviews with authors and family, Stalin’s Wife is nearly barbarous in its denial of aesthetic pleasure. The whole thing looks like a late-night-TV infomercial.
  6. Especially disappointing that Lemmons, who in "Eve's Bayou" gave us insightful glimpses into the emotional world of black adults, has lost her balance, elevating formula over revelation.
  7. The best I can say for Smiling Fish is that it's capable and pleasant, which ought to sound a warning note louder than if I'd said it was awful.
  8. What a letdown that Vincent Ward, who gave us a fabulous gift with Map of the Hu-man Heart, has made this big old tub of schmaltz.
  9. The picture is an enormous disappointment... The result is one of the most self-consciously grimy movies on record - it looks as if the negative were developed in a mud bath.
  10. The narrative chronology is so heavily hacked about, its tenses so addled and the material so thinly spread across so many characters, one can scarcely keep it straight in one's head without going cross-eyed.
  11. The film isn't just banal, it's aggressively, arrogantly banal.
  12. Its tone is as disjointed as if this were a first effort.
  13. Overproduced, psychologically muddled, and burdened with an enchantingly overheated screenplay.
  14. Half a notch above a vanity project, this chipper little number by French director Steve Suissa offers a deadly combination of shamelessness, narcissism and schoolboy comedy.
  15. Undisciplined and overstuffed with enough surplus plot twists to make your neck ache, The Mexican affects the tousled look of a self-conscious indie.
  16. Both stars are atrocious -- but the real blame for this cosmically self-indulgent disaster lies with Kevin Smith, who directs like a proud father who can't stop showing you pictures of his kids. And here's the thing: The brats are ugly.
  17. This rancidly exploitative movie is redeemed only by canny performances by both leads, as well as Sandra Oh in a supporting role as Phoebe’s friend.
  18. A movie that’s full of sound, fury and unintentional camp -- and is still bafflingly inert.
  19. If I were a grief-stricken Sarajevan I'd take offense.
  20. Reiss guides the film with a firm hand, ratcheting up the tension and ably guiding his actors. It's his protagonists that undo the film, making it a chore to sit through.
  21. By the time a not terribly surprising tragedy hits and these crazy kids get theirs, the movie doesn't so much end as finally keel over.
    • 43 Metascore
    • 20 Critic Score
    With its inexplicably watchable shotgun-riding bimbos, unconscious homoeroticism and "Shawshank Redemption" ending, The Fast and the Frivolous here is almost so bad it's good. Almost...
  22. As the cop who finds himself in way over his head, kickboxer-turned-actor Conrad Pla turns in a performance of such staggering ineptitude that it almost (key word: almost) reaches a so-bad-it's-good, Plan 9 From Outer Space brilliance.
  23. Too bad that by the time the volcano shoots its wad, the movie has already died a thousand deaths, ground to a halt by the interminable waiting for the damn thing to blow.
    • 42 Metascore
    • 30 Critic Score
    Nothing in this craven exercise... will register in the memory for longer than the walk back to the car.
  24. Consistently undermined by a script that swings between the duller side of quirky and facile sentiment.
  25. It all misses the mark emotionally, hindered by one-dimensional characters and telegraphed developments.
    • 42 Metascore
    • 30 Critic Score
    Ultimately, the plot-point overload dilutes any palpable sense of dread, excitement or empathy, and it doesn't help that all the dialogue acts in service to either patronizing exposition or turgid interpersonal drama.
  26. Long-shelved 2001 clunker.

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