L.A. Weekly's Scores

For 3,658 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Old Joy
Lowest review score: 0 The Replacement Killers
Score distribution:
3658 movie reviews
  1. Paramount Pictures proudly informs us that the PG rating is for “mild, crude humor.” Too mild, too crude by far. If I were you, I’d take the wee ones and run for the vastly superior “Finding Nemo.”
    • 38 Metascore
    • 30 Critic Score
    The Return gets this year's award for most misleading poster, with its image of an empty-eyed, gray-skinned zombie/ghost that appears nowhere in the movie. You might, however, feel a little empty-eyed and zombie-like yourself after emerging from this languid story.
  2. Drawn from two Earhart bios, Mira Nair’s dull hagiography comes in about 111 minutes too long.
  3. A stunningly lethargic, uninvolving piece of crap.
    • 37 Metascore
    • 30 Critic Score
    Making a gay film only slightly less intolerable than its straight counterparts isn't much to be proud of.
  4. Quite unintentionally, director Luis Llosa and screenwriters Hans Bauer, Jim Cash and Jack Epps Jr. have crafted a howler; Anaconda, meant to be a nail-biting thriller, is a laugh-out-loud comedy.
  5. Comes off as a desperate attempt to breathe life into dull proceedings.
  6. This hypersleek film is surprisingly lax for its first half... The ending is dumb.
  7. There are moments that suggest the comedy that could have been.
  8. I'd take almost any colorful-character shtick over the gloomy gravitas that settles over All the King's Men early on and never leaves.
    • 37 Metascore
    • 30 Critic Score
    As a director, newcomer Frank E. Flowers shows a flair for visuals and characters, but as a writer, he needs work. The Tarantinoesque nonlinear structure he employs would be risky even in Quentin's hands, and is downright self-sabotaging here.
  9. Now that's exploitation.
  10. Hinges almost completely on the taut body and delectable beauty of Jessica Alba, but is otherwise so riddled with limp clichés that it doesn't even qualify as a guilty pleasure.
  11. Those seeking anything resembling a real discussion of the issues had best seek elsewhere.
  12. Kids will probably enjoy the sight of huge, bumbling teddy bears -- Parents will exit wondering why this piece of unnecessary cross-promotion wasn't released straight to video.
  13. The wet blanket of undigested autobiography lies all over Rob Reiner's excruciating new opus about a marriage winding down into terminal atrophy.
  14. What’s striking about John McKay's feature debut is how much contempt toward his female characters the writer-director manages to pack into 115 minutes.
  15. Placing gay characters front and center in big Hollywood movies is supposed to inspire cheers, not the case of the creeps that comes with Three To Tango.
  16. Callahan's feature debut is a one-way ticket to Palookaville.
    • 36 Metascore
    • 30 Critic Score
    These are pitch-perfect impersonations rather than performances.
  17. Screenwriters Melissa Carter and Erica Bell (Sleepover) have given Murphy -- perhaps the twitchiest actor of her generation --cutesy quirks to play in lieu of a character.
  18. There's not a believable moment in all of it, but for a while the film chugs along on Ryan's innate charisma. Even so, no amount of movie-star twinkle could lighten screenwriter Cheryl Edwards' bizarre character arc, which finds Jackie turning, overnight, into a callous, possibly racist, ninny.
  19. Within a few minutes of the film's frenetic opening set piece, however, it's obvious that director David Kellogg and screenwriters Kerry Ehrin and Zak Penn have no idea how to capture the spirit of the source material.
  20. Silly, derivative stuff.
    • 36 Metascore
    • 20 Critic Score
    War
    What is it good for? Absolutely nothing. Offering neither the enjoyably preposterous auto-heroics of the Transporter movies nor the lithe, legible athleticism of even second-tier Hong Kong thrillers.
    • 36 Metascore
    • 20 Critic Score
    The entire movie is an object lesson in diminishing returns: of nagging shock cuts and blaring sound cues used as indiscriminately as joy buzzers; of “look out behind you!” scares that wouldn’t make a Cub Scout flinch; of a blurry visual scheme that was far more terrifying in "The Diving Bell and the Butterfly," where it sought empathy rather than empty sensation.
  21. Fails because it takes itself both too seriously and not seriously enough.
    • 36 Metascore
    • 20 Critic Score
    Old people are made to look ridiculous; clowns are brutalized; characters talk in rapid-fire vaudeville shtick.
  22. It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.
  23. A nearly affectless Christian Slater, who carries a co-producing credit and seems to have lost his charisma along with his sneer, plays Tom, an armored-car guard who plays hide-and-seek with a gang of thieves, all of whom, outside of ringleader Jim (Morgan Freeman), are instantly forgettable.

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