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 6.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Japan
Lowest review score: 0 Grind
Score distribution:
3,656 movie reviews
  1. The film is unabashedly sexy, and its heady romanticism feels as right and as unaffected as Im's bold use of color and his equally bold decision to tell the story through traditional pansori narration.
  2. Belongs to the small rank of hip-hop films that actually have something to say -- and that say it with both style and intellectual bite.
  3. The music, it goes without saying, is great.
    • 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.
  4. The kind of art film that's rarely seen anymore -- the kind that trusts the audience to be as intelligent as the director.
  5. Has a marvelous, pent-up passion.
  6. Here is a ghost story so dynamic you could call it a ghost poem.
  7. Writer-director Gianni Amelio masterfully chronicles the ways two people can betray each other, and especially themselves, in the name of love.
  8. A scathing, darkly funny political essay wrapped inside a tragic love story (or vice versa).
  9. The alchemy of good acting under the pressure of sublime film sense makes for a miracle in the hearts of the audience.
  10. It goes straight to the top of the class. O can there be such a thing as too keen a guilty pleasure, particularly when the whole genre is knowingly pitched to audiences as a trashophile's delight? No, there cannot.
  11. Very much a fully realized cinematic experience. John Turturro, even if you have to act less, be sure to direct more, and often.
  12. The last-minute details of plot can't compete with the frightening intensity of Kiberlain's and Garcia's performances, which trace, with brilliant precision, the exhausting mix of brutality and grace inherent in the mother-daughter relationship.
  13. eXistenZ gives us Cronenberg at his wittiest, and Leigh at her most vulnerable and fascinating.
  14. The result is an intelligent, moving and invigorating film, just the thing for adults bored with the shock-horror posturing to be found in the work of so many young European directors.
  15. A triumph of invisible craftsmanship that embraces so much specific detail that none of the women ever comes across as an emblem or an abstraction.
  16. The inventive, often comically horrible fight set pieces will have you standing on your seat cheering like a Viking, and the result is a supremely kinetic and amusing guilty pleasure.
  17. Superbly adapted by Fred Schepisi from the Booker Prize-winning novel by Graham Swift, Last Orders pays quietly passionate tribute to the unsung working-class generation that fought World War II and survived to take up apparently humdrum lives.
  18. What makes High Art remarkable is Cholodenko's refusal to put her characters or story through a filter, her unblinking willingness to dive right in.
  19. With a brisk pace and satiric blend of nostalgia and violence, it's the sharpest, funniest comedy so far this year.
  20. Laced with brilliantly knotted ideas on race, masculinity and cults of violence.
  21. Above all, Oshima has fashioned a tale of men among men that feels familiar at first, then moves boldly into more enigmatic terrain.
  22. The first REALLY great mythic film of the summer has arrived.
  23. That nothing more monumental than an everyday life has occurred to any of the subjects is perhaps the film's most compelling aspect.
  24. Of the many excellent animated features Disney has produced over the past decade, this is the one that feels the freest, and sweetest.
  25. What Harris extracts from himself is nothing less than a psychological nude scene, sustained across two hours.
  26. For those of us who find Lelouch an unbreakable habit -- the guiltiest of guilty pleasures -- watching And Now Ladies & Gentlemen comes close to sheer moviegoing bliss.
  27. While it's Dave's madly humming brain that propels the film, Davis, whose every glance is a short story in itself, makes Dana's internal crisis equally resonant.
  28. It’s our great good fortune, and Pekar's, that this movie -- which won the Grand Jury Prize at this year's Sundance Film Festival, followed by the FIPRESCI Award at Cannes -- is as true to the dyspeptic spirit of its source as anyone could have imagined.
  29. Maddin's genius is so inescapably idiosyncratic that his work seems destined to remain a cult taste. Although Dracula won't change that, I hasten to add that this is the most inventive vampire picture of the last 80 years.

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