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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Godfather
Lowest review score: 0 Screwed
Score distribution:
3,655 movie reviews
  1. Now that's exploitation.
  2. As mean-spirited toward its working-class characters, especially its women, as it is profoundly unfunny.
  3. McCormick and screenwriter J.S. Cardone don’t have one original thought between them, but they do appear to share an obsession with characters opening hotel-room closets in which the steel hangers gleam ominously.
  4. A star ensemble is preposterously miscast.
  5. Director Jordan Brady achieves the remarkable feat of squandering a topnotch foursome of actors -- particularly Theron, a very game and able comedienne -- by shoving them into every clichéd white-trash situation imaginable.
  6. Spanglish is Brooks' unqualified kitchen disaster - a desperate, shapeless, overreaching big-screen sitcom of a movie that just wants to be loved. Is that so wrong? In a word, yes.
  7. Deadening comedy.
  8. Shrill, smug would-be satire.
  9. An ostensible action-comedy that can't seem to get either side of its genre equation right.
    • 27 Metascore
    • 20 Critic Score
    Everything from the Rube Goldberg sets to the Jim Henson creatures is aimed squarely at a preschool audience.
  10. Reiss guides the film with a firm hand, ratcheting up the tension and ably guiding his actors. It's his protagonists that undo the film, making it a chore to sit through.
    • 33 Metascore
    • 20 Critic Score
    Cedric gets some help from a butt-kicking babe (Lucy Liu) who may or may not be his girlfriend, and if you believe this pairing could plausibly happen, you might be gullible enough to buy a ticket to this movie.
    • 60 Metascore
    • 20 Critic Score
    Pretentiously impressionistic, sloppy almost to the point of self-parody, Temple’s film is New Journalism without the journalism -- or, alas, the drugs.
  11. Here, Lohman's luminous presence rises above the badly directed violence and mayhem -- even if the movie's a dud, she's a star.
  12. Just lies there, poorly lit and tone-deaf.
  13. Working from a script by David S. Goyer ("Dark City") that lacks any sense of humor or character, Snipes seems unsure if he should vamp it up or play it straight, while Dorff just plain sucks.
  14. It's animated cockfighting for children.
  15. Sucks -- because it's a frenetic bore that insists on its audience's adoration while making no demands upon their intelligence.
  16. A lobotomized updating of "A Midsummer Night's Dream."
  17. A waste of the filmmakers' time and ours, and offering further evidence that, outside the art house, much British cinema has its head jammed tightly up its own arse.
  18. The film, whose clumsy editing and dearth of establishing shots keep the viewer in an unintended state of confusion, is a corpse in its own right: It’s filled with the rotting ideas of far better movies.
  19. The film stinks from start to finish, like a wet burlap sack of gloom.
  20. It's outclassed by the memory of just about every prizefighting flick you've ever seen.
    • 12 Metascore
    • 10 Critic Score
    No snob to low-brow ridiculousness when it’s actually unexpected, I’ll admit to being amused exactly once, when Zahn gets deep-throated by a gigantic prop turkey who, despite the mouthful, keeps on flapping.
  21. Mimi Leder shows none of the vigor she exhibited when directing for E.R., and screenwriters Michael Tolkin and Bruce Joel Rubin betray a real aptitude for hack work.
  22. The film's deadly lulls outweigh its infrequent highs.
    • 14 Metascore
    • 10 Critic Score
    Actor-writer-director Mars Callahan's diarrheal 10-character rant about modern relationships sounds like it was researched by eavesdropping on the restroom chatter at a high school prom.
    • 20 Metascore
    • 10 Critic Score
    This is one muddled attempt at franchise making: confusing, drab, sluggish. (Ugly, too, if you're forced to see it in 3-D.)
  23. Vinterberg's execution is overstuffed, unoriginal and often downright incomprehensible. And what's Sean Penn doing dangling off airplanes -- pontificating, as usual, from a great height?
  24. Mechanical revenge fantasy that skirts every serious issue it raises along a slick, cynical trajectory.

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