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 5.9 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 The Singing Forest
Score distribution:
3,655 movie reviews
  1. Oxymoronic musings of a vain country singer.
    • 13 Metascore
    • 10 Critic Score
    Depressingly shrill.
  2. Anatomy of Hell offers one of the most hateful and mechanical representations of sexuality I've ever seen.
  3. Pitched as a black comedy, the film thus far seems to have divided audiences between those who think it unaccountably hilarious and those who see it as the latest manifestation of what might be called the new nihilism.
  4. So what in this high-concept lame-a-thon makes screenwriter Bradley Allenstein think he can diss the Clippers?
    • 27 Metascore
    • 10 Critic Score
    It's an astonishingly crass and vulgar film, crudely directed on a cut-rate budget by Brian Robbins, never more than almost funny or less than disturbing.
  5. Offers no perverse philosophical conundrums and no eye-popping visuals. It's a dull, lifeless bore.
  6. A stinker.
    • 31 Metascore
    • 10 Critic Score
    Many in the youthful target audience won’t be able to identify the "homages," and the script is far too lazy for seasoned horror fans to stomach.
  7. Highly reductive and deathly dull slasher flick.
  8. The film seems to argue that Rock's real-life manipulation of the race card is little more than exploitation, rather than the essence of his incendiary comic critique.
  9. This sort of nostalgia-drenched, sexual-coming-of-age saga has been done to death.
    • 22 Metascore
    • 10 Critic Score
    Equally as brainless, shrill and calculated as its two predecessors.
  10. Shrill and gloomy.
    • 16 Metascore
    • 10 Critic Score
    Lacking even the train-wreck appeal of a brainless stoner comedy like "Half-Baked," Surfer, Dude is a numbing experience at just 89 minutes.
  11. Here, the CG effects are plentiful, but the scare factor rarely rises above the level of a viral email, and the desaturated color scheme of Sonzero and cinematographer Mark Plummer makes every frame look as though it was developed in a solution of vomit and ash.
  12. Annoyingly fourth-hand -- scraped from the shoes of "The Full Monty," mixed with Michael Caine's "Little Voice" hair-smarm and salted with "Billy Elliot's" dandruff.
  13. Put simply, in my humble opinion, Oldboy sucks.
  14. Given the tainted history of Supernova, it's difficult to figure out where to place blame for either the undernourished screenplay or the moribund action.
  15. It almost appears like a little thought went into this otherwise grim exercise in soullessness.
  16. Watching Ramis struggle with his two stars is like watching someone try to juggle lead weights.
  17. A cheap "Star Wars" rip-off with swords instead of light sabers.
  18. A work of top-shelf schlock.
  19. While the film is well-paced, visually it is deathly dull.
  20. Mutates halfway through into a ham-fisted action movie that squanders the good will, and insults the intelligence, of its audience.
  21. Only a 10-year-old could parse the plot.
  22. There are ticklish moments, but no real laughs.
    • 41 Metascore
    • 10 Critic Score
    The diminishing returns of shock value are the movie's built-in joke, and it would be a lot funnier without the directors' unforgivably bratty postsexist/postracist/posthuman showboating.
  23. The animation is cheesy; the banter isn't funny; the score is noisy and grating; and the critters look like stuffed animals. The best that can be said for The Wild is that it's a most insincere form of flattery. The worst is that it's a sincere form of theft.
    • 55 Metascore
    • 10 Critic Score
    A manifesto in the form of an enormously budgeted quasi-sci-fi epic, Cloud Atlas is evidently personal, defiantly sincere, totally lacking in self-awareness, and borderline offensive in its gleeful endorsement of revenge violence against anyone who gets in the way of a good person's self-actualization. The rest of the time, it's just insipid, TV-esque in its limited visual imagination, and dramatically incoherent.

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