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 Life of Brian (re-release)
Lowest review score: 0 The Hillside Strangler
Score distribution:
3655 movie reviews
  1. Even when the film does strike some genuinely heart-tugging notes, they’re invariably shattered by such ham-fisted lines as “You really are blind.” At times, it’s enough to make you wish you were deaf.
  2. A star ensemble is preposterously miscast.
  3. What they don't do often enough is battle anacondas. It's all tease and no payoff.
  4. A kind of declawed, inside-out "Final Destination" -- with none of the sense of showmanship, and all the looming malice of a mawkish condolence card.
  5. Jennifer Lopez's butt? Alas, the moment is over all too soon; the movie, sadly, is not.
  6. Never quite gets up to speed, lurching its way through a glossing, superficial take on street life and teenage sexuality.
  7. Why the devotion to such dull material?
  8. It's all a treacly, shoddily assembled, underwritten mess.
  9. A sappy love story wherein nary a gun or action sequence is seen after the first 10 minutes.
  10. Surprisingly unsexy, uninvolving affair.
  11. A movie bloated with character cliches and a bullying score that bludgeons us into whatever emotion composer Marc Shaiman thinks we should be experiencing.
    • 39 Metascore
    • 30 Critic Score
    Director John Maybury showed a defter hand with the artist biopic in his 1998 Francis Bacon film, "Love Is the Devil." Here he repeatedly falls into the genreā€™s traps, creating an inert, claustrophobic movie.
  12. No doubt, Levinson thought he was making this generation's "Dr. Strangelove." What he's actually made is a desperate, ponderous sop to progressives that caters to all of the left's worst fears about voter fraud, corporate malfeasance and the impossibility of effecting real change.
  13. Director Mel Smith (Bean) struggles to make up for the lack, clumsily juggling screwball dames and criminal elements, and trying to disguise the film's marked lack of vitality with split-screen tricks, jokey camera angles and a limp musical montage.
  14. In "Pretty Woman" Roberts played a tough whore with a soft heart. Here, she's a business owner whose sense of self is so tenuous she doesn't even know how she likes her eggs done.
  15. Writer and director Gilfillan has an estimable biography, having studied at the Beijing Film Academy and worked as an assistant to John Woo, but there's nothing in her prosaic feature debut that suggests this means a thing.
  16. Even the easily weepy may grow impatient with the snail’s pace of this melancholy romance.
  17. When Plympton isn't indulging his manias, the film just sort of nods off, and nothing much happens -- either visually or storywise -- for what seems like ages.
    • 39 Metascore
    • 30 Critic Score
    Cry Wolf is one of those movies that's rated PG-13 not because the producers wanted to get the broadest audience possible, but because no one 17 or older would be sucker enough to fall for it.
  18. I can find nothing nice to note about this excruciatingly slow, overly tasteful piece of whimsy.
    • tbd Metascore
    • 30 Critic Score
    Even most chemistry majors could probably assemble a more entertaining 76-minute picture than Underdahl's flimsy and dated story.
    • tbd Metascore
    • 30 Critic Score
    Flat-footed.
  19. Flatly directed by Mark David, tediously paced and melodramatic.
  20. It's a dud. To be fair, the source material (to which the film is unfortunately faithful) is itself a wan assemblage of creaky one-liners, overly familiar gay ghetto types and sitcom-inspired shenanigans.
  21. Notable actors such as Thandie Newton, Judi Dench, Keith David and Colm Feore are little more than stiff-necked toy figures jostled around to accommodate Twohy's Wagnerian spacescapes, crappy dialogue and CGI-dependent action.
    • 38 Metascore
    • 30 Critic Score
    In a time of darkness, under the evil reign of John Malkovich -- who sits upon a throne in a different sound stage from the rest of the cast -- a hero shall rise. But lo, there will be little rejoicing, for this dragon rider (newcomer Edward Speleers) is but a nancy boy, about as imposing as Lance Bass, and somehow in possession of the only soap and clean clothes in all the land.
  22. There are gruelingly unfunny gags, an unspeakable soundtrack featuring BTO and Billy Ocean, and Victoria's Secret mannequin Heidi Klum as a model who demands that her pussy hair be styled into a bushy red heart.
    • 38 Metascore
    • 30 Critic Score
    1. Balls of Fury is a movie about: a. A former table-tennis prodigy enlisted by the FBI to infiltrate the underground pingpong tournament of a legendary Chinese criminal. b. Suppository jokes.c. Little worth discussing and even less worth seeing.
    • 38 Metascore
    • 0 Critic Score
    Some of the most heavy-handed, laughless, uninspired attempts at comedy since prime time. But I still dig “South Park.” Let’s forget this ever happened.
    • 38 Metascore
    • 30 Critic Score
    Brodie assembles a grab bag of themes formulaic to films about poverty.

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