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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Dust to Glory
Lowest review score: 0 Mortal Kombat: Annihilation
Score distribution:
3655 movie reviews
  1. As repellent as their characters are, one feels a degree of pity for the three male leads, who give fresh evidence that hungry actors can't say no to a studio feature, no matter how humiliating the script.
  2. A stinker.
  3. As for anyone else who may experience a sudden need for therapy after sitting through this, you're on your own.
  4. Director Uwe Boll (House of the Dead) pulls off a nicely staged fistfight in an open-air market at the start, but soon loses his way amid mind-glazing exposition and endless gunfire aimed at bulletproof giant lizards.
    • tbd Metascore
    • 0 Critic Score
    In 2009, its hilarious ineptitude makes it border on becoming a cult classic for the ages ... and we're not talking religious cult.
    • 9 Metascore
    • 20 Critic Score
    Meet the Spartans is a mild improvement over their "Epic Movie," which is like saying that a debilitating fever is more fun than appendicitis, but what’s shocking is how lazy it is, which is a shame for former UK child star/pop singer Sean Maguire, whose Gerard Butler impersonation is spot-on.
  5. The sex-comedy-for-girls idea never quite takes off.
  6. It almost appears like a little thought went into this otherwise grim exercise in soullessness.
    • 8 Metascore
    • 30 Critic Score
    With stronger actors and real writers, this might’ve been a vintage comedy you could sink your...nope, not going there.
    • 7 Metascore
    • 0 Critic Score
    Only a moron would expect a dude road-trip-sex comedy to be more than an aggressive expression of male sexual anxiety. But really, when did women become such vile creatures.
  7. Miraculously seems a great deal longer (this is not a good thing) as it careens from shit joke to corpse joke to ass joke to dog-turd joke and back.
  8. It's a nice try, but the film remains a pinhead's idea of softcore fetish material.
  9. There are ticklish moments, but no real laughs.
    • 6 Metascore
    • 0 Critic Score
    A May-September sex farce so prodigiously unintriguing that audiences could be forgiven for stampeding from theaters to strangle its writer-director, Gary Preisler, in his sleep.
  10. That clunky, God-awful bit of exposition-heavy dialogue perfectly encapsulates all that's wrong with this dismal film.
    • 5 Metascore
    • 20 Critic Score
    First-time director Bryan Johnson's failure to resolve the film’s two moods -- psychopathic sexual brutality and light social satire -- proves fatal.
    • tbd Metascore
    • 20 Critic Score
    Dworman's comic style dangles in the abyss somewhere between sub-Woody Allen and Mel Brooks (his script borrows too heavily from both).
  11. Bad movies can be a hoot, but rather than campy, Ameer appears to be dead serious; and it's hard to feel anything but fury toward a filmmaker whose opening title sequence intersperses black-and-white flashbacks of his sexy young lovers with actual concentration-camp photos of stacked, emaciated corpses.
  12. Writer-director David DeFalco's ugly, pointless and dishonest remake of Craven's remake.
  13. Mostly, Lafferty is all about expletives and sexual innuendo of the frankest kind, some of it so raunchy (and unfunny) as to make one wonder if the parents of the film's many child actors bothered to read the script.
    • tbd Metascore
    • 40 Critic Score
    Perfunctorily shot and edited, the project hinges only on Rutledge-Taylor's findings, which begin to raise eyebrows once pragmatic activism is thrown out the window in favor of the blame game.
  14. In Griggs's eyes, they're all fools. Only old Ronnie, dearly departed though he may be, is worthy of reverence.
    • tbd Metascore
    • 50 Critic Score
    Sternfield's direction isn't spry enough to handle the abrupt shift in genre when this moves from detective tale to social-problem film, and things bottom out with a town hall meeting tepidly shot as courtroom drama that stops the story's momentum dead in its tracks and leaves Meskada limping through its last half-hour.
    • tbd Metascore
    • 70 Critic Score
    The depraved, desperation-trumps-morality, circle-of-life denouement is foreshadowed a little too heavily from the beginning, but with its hypnotic, singular aesthetic, Redland still casts a spell that's hard to shake.
    • tbd Metascore
    • 70 Critic Score
    The most pleasant surprise here isn't just watching these masters perform their craft - though it is quite a treat - but rather how eloquent and thoughtful they are when discussing it: each and every one of them emphasizes the importance of simple hard work and lack of any catch-all technique or "secret" to what they do.

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