L.A. Weekly's Scores

For 3,664 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 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Lord of the Rings: The Return of the King
Lowest review score: 0 Lolita
Score distribution:
3664 movie reviews
  1. The visual effects are predictably excellent -- sometimes, in the case of a three-man free fall through space, unexpectedly lyrical -- but most of the movie's dramatic conflicts feel strictly pro forma.
    • 50 Metascore
    • 40 Critic Score
    It isn't really a documentary about the porn industry but rather a documentary about the making of a coffee-table book containing posed photos of porn stars, fans and moguls. Director Michael Grecco is also the photographer making the book, so perhaps "infomercial" would be a more accurate description.
  2. Ceylan’s departure from his moody sonatas "Distant" and "Climates" into more plotted film noir is equal parts Bresson and Buñuel, a merciless etching of the indiscreet charmlessness of the Turkish bourgeoisie, which sharply raises the stakes on that class’s petty hypocrisy and serial betrayals.
    • 25 Metascore
    • 50 Critic Score
    Isn't half as dramatic as what probably went down after she (Beyoncé Knowles) kicked LaTavia and LaToya out of Destiny's Child.
  3. Feels like a movie made by men whose world views were shaped, primarily, by "Porky's" and "American Pie."
    • 72 Metascore
    • 80 Critic Score
    State-of-the-art camera equipment captures images of startling clarity and proximity. There isn't one frame of CGI.
    • 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.
  4. It's almost foolish to review Hannah Montana: The Movie as anything other than the latest cog in a cultural phenomenon/mass-marketing juggernaut. The film itself certainly doesn't aspire to anything more.
    • tbd Metascore
    • 0 Critic Score
    In 2009, its hilarious ineptitude makes it border on becoming a cult classic for the ages ... and we're not talking religious cult.
  5. All might have been forgiven were it not for a needlessly Shyamalanized ending that deserves to earn Wyatt at least 25 years for grand-theft cinema.
    • 38 Metascore
    • 50 Critic Score
    This is the kind of amiable time-killer that belongs on a basic-cable weekend afternoon.
  6. Witty, insightful portraits of hyperverbal, self-conscious young people falling in and out of love.
    • 41 Metascore
    • 30 Critic Score
    What would a Christian Apocalypse movie look like with a big budget, a talented director, and star power of higher wattage than a discount Baldwin brother? Here comes the answer: like a glum hybrid of the "Final Destination" movies, an Irwin Allen disaster bash, and the kitschiest parts of Darren Aronofsky's "The Fountain."
  7. A calculated bid to turn the Rock into a more family-friendly commodity. That calculation may be transparent, but it pays off: Cracking one-liners and alternating between world-weariness and growing affection for his charges, Johnson is wonderful -- much better than his material.
    • 39 Metascore
    • 30 Critic Score
    Director John Maybury showed a defter hand with the artist biopic in his 1998 Francis Bacon film, "Love Is the Devil." Here he repeatedly falls into the genre’s traps, creating an inert, claustrophobic movie.
    • 7 Metascore
    • 0 Critic Score
    Only a moron would expect a dude road-trip-sex comedy to be more than an aggressive expression of male sexual anxiety. But really, when did women become such vile creatures.
    • 27 Metascore
    • 20 Critic Score
    The movie layers its fatalistic drama with absurdist horseplay and a few moments of Lynch-ian mysticism, but it's an awkward mix at best; even when The Perfect Sleep is trying to be funny, it's far too self-conscious to really be much fun.
    • 43 Metascore
    • 40 Critic Score
    The film is confidently polished, and thankfully more sweet-tempered than preachy, given that every narrative thread has an underlying theme of social injustice.
  8. Given the passivity of computer use, the "hacker thriller" is film history's great running joke, but special attention should go to Echelon Conspiracy's authors for conceiving a climax that tries to juice tension out of someone using a search engine and staring at a download countdown.
    • 17 Metascore
    • 20 Critic Score
    Idiot plotting and dialogue are what you'd expect from a genre that typically rewards narrative development with a skip function. But the rote fight scenes are a disappointment.
    • 50 Metascore
    • 50 Critic Score
    Check off all of Perry’s motifs: vilification of the black bourgie princess, tough-love Christian messages, Academy Award–nominated actresses (Viola Davis, this time) managing to maintain their dignity.
  9. The five interwoven narratives in this visceral but disciplined and beautifully acted movie show to devastating effect how ordinary men and women -- and especially vulnerable boys desperate for masculine role models -- get caught up in the seductive violence and are ruthlessly destroyed by the network's hardened henchmen.
    • 26 Metascore
    • 20 Critic Score
    It plays like a disastrous Sci-Fi Channel castoff, thanks in no small part to Myrick's odd decision to include incessant voice-over narration by Ball, which plays like a really terrible in-character DVD commentary track.
  10. A remake of the 2003 Korean horror film "A Tale of Two Sisters," The Uninvited is a Hand That Rocks the Cradle–type thriller that's been dressed up as a horror movie.
    • 50 Metascore
    • 50 Critic Score
    Neeson's tormented weariness lends an air of dignity to the film's pulpy, grubby nastiness, but as striking as he is in action-hero mode, the truth is that Taken doesn't need dignity.
    • 44 Metascore
    • 50 Critic Score
    Mincing around like a bored old glam rocker and hissing threats from behind electric neon eyes, Nighy seems to be the only person on set who found a glint of amusement in his part. He fares better than poor Sheen, a scraggly Wolverine who made a more credible vampire-slayer opposite Frank Langella’s Nixon.
    • 51 Metascore
    • 30 Critic Score
    There's no excitement or terror in watching the 3-D execution of 2-D actors giving 1-D performances, just the steadily diminishing returns of the same eye gouge delivered ad infinitum.
  11. Slobbery wet kiss of a family movie.
    • 39 Metascore
    • 50 Critic Score
    Done as an all-out battle to the death, this could have been an entertaining mix of "Die Hard" and "The A-Team."
    • 24 Metascore
    • 40 Critic Score
    A step backward for Hathaway, Bride Wars is one more step into the quicksand for Hudson, who's spent the nine years since ""Almost Famous wandering the rom-com wasteland in search of an exit strategy; this movie, which she exec produced, ain't it.

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