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 6.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Year One
Score distribution:
3,655 movie reviews
  1. A marvelous tribute to a heady age.
  2. A remarkably moving and disturbing film about the possibility of belonging and the genealogy of violence.
  3. Their endless groupings and regroupings, their brief encounters and power struggles are framed by an armory of cinematic devices that will be familiar to any Desplechin devotee.
  4. One of the year's most imaginative and uniquely exciting pieces of cinema.
  5. This unassuming, insistently entertaining documentary has the virtue of a great subject.
    • 84 Metascore
    • 80 Critic Score
    If Aki Kaurismaki were the Eagles, which he is not, The Man Without a Past might be considered a kind of "best of" album.
  6. Trueba reveals his subject organically, letting the music speak for itself.
  7. Notable for its power of surprise and its refusal to immediately clarify the confusion of these lost souls.
  8. Their pain is our pleasure, for though occasionally Apted's bluntness makes you want to take a bite out of his neck, there's something immensely satisfying about watching the playing out of ordinary lives we've become attached to over time.
    • 84 Metascore
    • 90 Critic Score
    Tanovic steers his story away from feel-good brotherhood clichés and toward the darker reaches of human nature. The principal cast is excellent.
  9. It works its magic with such exuberance and passion that the film's length becomes a part of its fun.
  10. Not a campy movie. True, it has its ironies, but though you can read it ironically if you wish, Haynes' triumph is that it also plays beautifully straight.
  11. The film's extraordinary shifts from windswept sorrow (Mahmut watching from a distance as his ex-wife departs Istanbul for a new life in Canada) to deadpan comedy (the cousins' carefully engineered capture of a household rodent) are uniquely, triumphantly their maker's own.
  12. But for all its bleakness, Nightmare is a film that demands to be seen. In unflinching terms, it captures the hellish existence endured by the many so that the few may wallow in privilege.
  13. Where Lehane's novel seethes with emotionally charged subtext, Eastwood's workmanlike direction feels static -- fatally tasteful, embalmed in gravitas -- while his sporadic efforts at dramatic heightening come off as vulgar cliché.
  14. Unlike the zippy American medical dramas it apes, The Death of Mr. Lazarescu is paid out with the deliberate slowness of a dray horse straining up a mountain path. With every painstaking turn of the screw that seals Lazarescu's sorry fate, Puiu flirts with tedium, but tedium is the point of this hyperrealist tale, paced in what feels like real time.
  15. Shrek's first 20 minutes are so devilishly funny that letting go of pure belief doesn't seem like such a bad thing.
  16. For all its hectic comings and goings, though, Kings & Queen is superbly controlled, gracefully shot and edited, and, for its entire 150 minutes, as engrossing as its meanings are opaque.
  17. The movie's scale is minuscule, but the physical and emotional landscapes it travels are as broad, deep and mysterious as the human psyche itself.
  18. Momma's Man taps into that ambivalence, and those moments when all of us long to flee adulthood and sink back into being our parents' beloved baby birds, whether or not we ever were in the first place.
  19. The movie is enjoyable, but not passionately engaging in the way we've come to expect from Almodóvar, and it leaves you somewhat cold in spite of the warmth of Cruz's galvanic performance.
  20. Has the glorious look and immaculate technique we expect from Mann, along with a wealth of superb secondary performances.
  21. The only player in this tawdry round-robin game who moved or seduced me in any way was Andy’s poor, hapless Gina. Tomei’s an ordinary beauty... But she has real screen presence and range, and her neglected wife is an artful inversion of her Oscar-winning role as Danny DeVito’s pert squeeze in "My Cousin Vinny."
  22. Results in moments of real beauty that make you grateful Chappelle chose an aesthete for directing chores. And yet, in terms of content, the film doesn't quite reach the bar set by its historic predecessor (Wattstax).
  23. Promising, if uneven, first feature.
  24. Noyce has made a good-looking, intelligent stab at the novel, mildly undermined by a tendency to seek contemporary relevance.
    • 84 Metascore
    • 90 Critic Score
    Hero is an epic, evocative of another epoch and of landscapes beyond time. It's overwhelming. And yet I miss the animating anger of Zhang's early masterworks, in which penniless young lovers were oppressed by impotent old men.
  25. Seattle filmmaker James Longley's poetic essay on the plight of ordinary Sunnis, Shiites and Kurds trapped in a war simultaneously waged over their heads and in their faces stands head and shoulders above an overcrowded field of documentaries about the Iraq war.
  26. As before, Bujalski's preference for nonprofessional actors, his ear for the rhythms of conversation among bright young 20-somethings and his adept use of a roving, hand-held camera (this time shooting in fuzzy black and white) lend the film an invigorating energy.
  27. Maddin's genius is so inescapably idiosyncratic that his work seems destined to remain a cult taste. Although Dracula won't change that, I hasten to add that this is the most inventive vampire picture of the last 80 years.

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