L.A. Weekly's Scores

For 3,656 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 5.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Big Red One (re-release)
Lowest review score: 0 Strippers
Score distribution:
3,656 movie reviews
    • 18 Metascore
    • 10 Critic Score
    This ostensible comedy may be a new depths-of-hell low in the Emmanuel Lewis filmography, but for star Jamie Kennedy it’s par for the coarse.
  1. 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.
    • 13 Metascore
    • 10 Critic Score
    Depressingly shrill.
    • 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.
    • 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.
    • 70 Metascore
    • 10 Critic Score
    One graphic that I.O.U.S.A. doesn't include is a national balance sheet of our assets and liabilities, which would illustrate that the former is more than double the latter. We're in the black, and a film this deep in the red isn't something to be scared of at all -- or taken seriously.
    • 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.
    • 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.
    • 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.
    • 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.)
  2. Smart money says Friedberg and Seltzer never sit through these movies in entirety.
    • 28 Metascore
    • 10 Critic Score
    A dreadfully unfunny slog through contemporary dysfunctional family indie cliché.
    • 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.
  3. Director Chuck Russell ("The Mask") and screenwriter Thomas Rickman don't need new agents -- they need backup careers.
  4. A mean-spirited, hyperviolent, stupid movie.
    • 25 Metascore
    • 0 Critic Score
    Complete and utter horseshit.
  5. As repellent as their characters are, one feels a degree of pity for the three male leads, who give fresh evidence that hungry actors can't say no to a studio feature, no matter how humiliating the script.
  6. Astonishing isn't the word -- neither is incompetent, incoherent or just plain crap. Indeed, none of these words really gets at the very special type of badness that is Deuces Wild.
  7. This movie could have easily been shot as porn, a transition that would have given it a modicum of respectability and, better still, true social purpose.
  8. Could it get any worse?
  9. Barely proficient on a craft level, this jumble of putatively comic misunderstanding and overly familiar crude burlesque achieves its nadir with a cameo from Mamie Van Doren, a degrading, shameful turn that lays bare, all too literally, the filmmakers' contempt for women.
  10. Miraculously seems a great deal longer (this is not a good thing) as it careens from shit joke to corpse joke to ass joke to dog-turd joke and back.
  11. Rollerball pushes the Hollywood action movie to stratospheric new levels of incoherence; pounding at the senses, it's mashed story, character, time and space into a chunky hash.
  12. Three strikes maybe, but no stars and no thumbs up (except the one way, way up its own ass).
  13. Lifeless, desultory slog.
  14. What the film suffers from most, though, are its own low aspirations: stroking the libidos and funny bones of brain-dead 12-year-old boys immersed in the shallow end of hip-hop.
  15. Isn't just rotten -- badly acted, badly written, badly conceived -- it's dead inside.
  16. That clunky, God-awful bit of exposition-heavy dialogue perfectly encapsulates all that's wrong with this dismal film.
  17. "It's no longer funny, but he refuses to give up the joke." That just about sums it up except for the film's shopworn plot -- and its wretchedly cheap production design.
  18. A crass, condescending piece of corporate bamboozling, Grind plays like a movie conceived by monkey-suited honchos who regard their targeted audience as impressionable nincompoops susceptible to every new trend in sports, clothing and music that comes down the pike.

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