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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 Down to You
Score distribution:
3,655 movie reviews
  1. It is a dull and boring film, pretty as a Turner landscape and as sweetly becalmed as the glassy Sargasso Sea in which the men of the unfortunately named “Surprise” find themselves trapped for what felt, to me at least, like weeks on end.
  2. Quiet and meditative, Dinklage neatly sidesteps the trope of the angry dwarf, and Clarkson, even in pain and rage, is characteristically warm and sexy -- she's our very own Helen Mirren.
  3. What makes it enthralling is the younger Kahn's openness to a range of emotional responses (his own and others') to his father's life above and below board, and his readiness to turn his own predicament into both entertainment and a provisional kind of puckish wisdom.
  4. For most of its running time, it's an enjoyably unpretentious celebration of the guilty pleasure we can take from a stupid-as-all-get-out car chase or from watching things blow up real good. Then, in its final half hour, Wright and Pegg ratchet up the absurdity tenfold and enter the realm of the sublime.
  5. There's no denying the overwhelming force of the giant IMAX screen, as we're reminded that each of us is the coolest special effect ever.
  6. There's nothing new about this sado-cinema, and nothing much worthy, either.
  7. You can only cram so much of this stuff into a movie without putting your audience to sleep -- The movie sags badly in the middle, swirling around itself without making headway.
  8. It’s the captured conversations about everyday lives and struggles that pin you to your seat.
  9. To describe the novelist's final days, Bachardy opens a drawer and begins pulling out the magnificent deathbed drawings he did of Isherwood -- a fusion of art and love that's deeply moving.
  10. A provocative, timely script full of gasp-inducing lines and scenes.
  11. The meat of the film is their wittily edited interviews with company members, now in their 80s and 90s and scattered around the world, many of them still active as teachers and consultants.
  12. Came alive only in the presence of a supposed dead man -- specifically, the nefarious Lord Voldemort.
  13. On viewing, the cuts seem negligible, but what is new and clearly improved is the sound, which now booms with each door slam and gunshot.
    • 81 Metascore
    • 90 Critic Score
    An uplifting -- not to mention pee-your-pants funny -- true story of self-acceptance that should be required viewing for all TV executives and teenage girls.
  14. It's a small film whose power is derived from its stripped-down scale.
  15. King Kong isn't terrible, but it's something that none of Jackson's previous movies ever was -- it's enervating.
  16. What's appealing about Bond is precisely its unhip classicism -- its promise of clean, crisp excitement delivered without the interference of whiplash-inducing camera pyrotechnics, attention-deficient editing patterns, gratuitous color tinting and/or ear-splitting rock ballads.
  17. The result is the work of a funereal yet darkly funny neorealist, sounding the rallying cry against the inflexible maxim casually delivered by one of his own film's characters.
  18. Rigged toward a sentimental conclusion and overpopulated with cutesy touches (including a curtain-call finale), but there are many remarkable sights along the way.
  19. The comic, tragic and monumentally beautiful new film by writer-director Jia Zhangke (Platform).
    • 81 Metascore
    • 70 Critic Score
    This loopy anime from director Satoshi Kon ("Millennium Actress") isn't a movie that's meant to be understood so much as simply experienced -- or maybe dreamed.
  20. It's the director's most complexly ordered film to date - a labyrinth of ids, egos and alter egos waiting around blind corners - and may be the movies' most deliriously inventive narrative spiral since "Adaptation."
  21. Andersson particularly delights in left-outs: the guy who can’t squeeze into the bus stop during a downpour; the natty little suitor getting his bouquet smashed in a slamming door. The sum total is the reflection of a worldview -- sad sack, bordering on “Everybody Hurts” black-velvet sad-clown bathos -- rather than any narrative.
    • 81 Metascore
    • 80 Critic Score
    Buena Vista avoids literal politics, as if all that is beside this film's point.
  22. Though it includes plenty of footage from those terrible days, this wonderful, devastating documentary is as much Dallaire's story as it is the story of a whole continent abandoned by a cynical world.
  23. Leonard Schrader adapted the screenplay from the novel by Manuel Puig, and his fearless willingness to explore every corner of human nature serves what is greatest and sweetest in the performances of William Hurt and Raul Julia.
    • 80 Metascore
    • 90 Critic Score
    Jolts with a quiet intimacy.
  24. It makes a convincing argument that Dowd's personal history is a kind of history of the 20th century itself, encompassing the era's art, science, commerce and politics.
  25. Ensemble casts like this are not easy to come by. Adams is something more than that -- a brilliant young comedian bursting into bloom.
  26. Proves too sincere to exploit its subjects and too honest to manipulate its audience.

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