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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,655 movie reviews
  1. The Master of Disguise represents Adam Sandler's latest attempt to dumb down the universe.
  2. If, for whatever reason, you do find yourself watching it, you may begin to ponder one of life's larger dilemmas: the fact that something can be done does not necessarily mean it should be done.
  3. It's a nice try, but the film remains a pinhead's idea of softcore fetish material.
    • 28 Metascore
    • 10 Critic Score
    A dreadfully unfunny slog through contemporary dysfunctional family indie cliché.
    • 35 Metascore
    • 10 Critic Score
    Let's call this "rethinking" The Abysmal.
    • 61 Metascore
    • 10 Critic Score
    While the women go through a few of the motions, shifting decorously under the sheets and sucking face, there's no lust in their coupling, just choreography and the conceit of two filmmakers with nothing more on their minds than fake dykes and bloodshed.
    • 28 Metascore
    • 10 Critic Score
    From Freestyle Releasing, the self-service distributor that brought you "D-War" and "In the Name of the King: A Dungeon Siege Tale," comes a movie even worse than those two combined.
  4. You'll be begging for mercy well before the end of this self-righteous, thoroughly unsavory "farce" about a lonely gay man who - gosh darn it - can't seem to stop getting mistaken for a pedophile.
  5. It’s like watching an annoying young drag queen who flubs the quips she’s stolen, refuses to shut up and thinks attitude is wit.
  6. Replete with false dilemmas, assisted by a dreadfully stagy screenplay and directed with all the animation of a tableau vivant, Metroland is such a draggy bore.
    • L.A. Weekly
    • 21 Metascore
    • 10 Critic Score
    It looks like the film is angling for a "Northern Exposure" reunion, except with none of the regional eccentricity.
    • 44 Metascore
    • 10 Critic Score
    As a satire of France's recent turn to the right, Frontier(s) is both hysterical and muddled; as straight-up splatter -- a Grand Guignol concerto of scalding steam, slashed tendons and table saw, with a solo for exploding head -- it's as relentless as it is hateful, hammily directed and derivative of the dreariest slop in contemporary American horror cinema.
  7. Lurches from one set-piece stomach-lurcher to the next with nary a nod to narrative coherence.
  8. Racing flick results in a wreck as horrifying as the film itself.
  9. Airless, joyless, worse than you could even imagine.
    • 20 Metascore
    • 10 Critic Score
    Crude animation, shrill voicework.
  10. Painfully bereft of wit or cogent insight.
  11. It's tough to decide just what's more offensive: the movie's musty depiction of gangsta rap as public enemy No. 1, the notion that all an uptight white girl needs to loosen up is a few puffs on a Philly blunt, or the idea that any of this might be remotely funny.
  12. If you get your jollies from watching women being shot, stabbed and humiliated, you’ll love video director David Dobkin’s pointlessly grisly, tediously derivative feature debut.
  13. How this hopelessly muddled and tedious dirge got released -- unless it was through the clout of Mel Gibson, who's grafted on as an FBI agent in a neck brace, with no discernible connection to the action -- is the real mystery.
  14. Gormless, gutless little home movie.
  15. Bad improv is bad improv, and it’s a potent virus.
  16. It's screen comedy at the end of its tether, Capra-corn gone rancid.
  17. It's shockingly inert.
  18. Black cats, ill-timed power outages and children in peril are just a few of the hoary scare tactics ineffectively rendered in the style of so many films buried in the dark recesses of January.
  19. May just be the most boring movie ever made; certainly it's the most boring movie I've suffered through to the bitter end.
    • 35 Metascore
    • 10 Critic Score
    An unnecessary remake.
    • 22 Metascore
    • 10 Critic Score
    If it was simply a jokey commentary on the dangers of greed and religious fervor, Tortilla Heaven would be forgivable. But Hecht Dumontet deserves special derision for her hypocritical condescension toward Falfúrrias' simple-folk caricatures, rendering them as God-fearing dolts worthy of scorn until the patronizing finale, which tries for a spiritual uplift that's as disingenuous as it is incompetently executed.
  20. Since neither (Chapelle nor Koontz) seems to have any idea as to how to make an actual movie, they abandon form and reason and throw every stock trick in the book at the screen to see what sticks. And what sticks is the murky goo of storytelling gone bad.
  21. A stunningly lethargic, uninvolving piece of crap.

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