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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Fallen Idol (re-release)
Lowest review score: 0 Miss March
Score distribution:
3655 movie reviews
  1. We're afforded the illusion of an omniscience so complete as to mark a pioneering breakthrough in movie storytelling, one not to be missed.
  2. Where "American Beauty" was smug and obvious in its dissection of suburban life, Judy Berlin is hilarious, heartbreaking and -- in its graciousness -- unlike any American film we've seen in a long time.
    • 92 Metascore
    • 90 Critic Score
    Almayer's Folly is lush and dreamy (if not quite dreamlike), but it never feels unanchored or given to pointless meandering. However hypnotic it at times becomes, this is a sober(ing) endeavor that never strays far from its post-colonial backdrop.
  3. With a brisk pace and satiric blend of nostalgia and violence, it's the sharpest, funniest comedy so far this year.
  4. What dazzles still about David Lynch's Blue Velvet is its total authority: Not a single false gesture. No shock delivered solely for its own sake.
  5. Here is a ghost story so dynamic you could call it a ghost poem.
  6. In most horror movies, it's a given that we should root for the heroes to make it out alive, but Diary of the Dead isn't nearly so certain, and so it terrifies us all the more.
  7. 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.
  8. Zwigoff pulls off something in Ghost World that seems a minor miracle -- he creates someone with a complex inner life.
  9. This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
  10. It is worthy of comparison to the lifelike, character-rich films we cherish from that era (1970s), and is certainly one of the finest films to come out this year.
  11. In the nearly 30 years since the movie was released (it won an Oscar for Best Foreign Film in 1972), one forgets how falling-about-funny is this mad caper.
  12. The triumph of Capote is that it both grants and shares with him that twisted brew of obsessive identification and monstrous detachment that is the fertile burden of the artist.
  13. At a time when most American movies, studio made or "independent," seem ever more divorced from anything approximating actual life experience, Half Nelson is so sobering and searingly truthful that watching it feels like being tossed from a calm beach into a raging current.
  14. Enormously enjoyable, high-adrenaline documentary.
  15. Breakdown recalls so many good movies, in such unpredictable order, that by the end it simply stands on its own, a solid, logical, edge-of-the-seat sluiceway of escape and pursuit.
  16. It's a romantic comedy in which both the romance and the comedy are turned to such muted levels that any lower would require closed captioning.
  17. Notable for its power of surprise and its refusal to immediately clarify the confusion of these lost souls.
  18. Cronenberg holds up a mirror, but he leaves it up to us to recoil at what we see.
  19. This is one of those rare times when a credit-heavy gathering of top film talents actually manages to produce a work of art.
  20. What's appealing about Bond is precisely its unhip classicism -- its promise of clean, crisp excitement delivered without the interference of whiplash-inducing camera pyrotechnics, attention-deficient editing patterns, gratuitous color tinting and/or ear-splitting rock ballads.
    • 83 Metascore
    • 90 Critic Score
    All this helps to shape Pálfi’s crudely bombastic but impressive philosophical view of the body as landscape and art, a source of personal discovery, wonder and annihilation.
  21. This is classical activist filmmaking of the first order, a movie with the power to turn hearts, change minds and, just maybe, right the wayward course of an entire city.
  22. Crowe has made a hugely entertaining, nearly pitch-perfect film about rock & roll.
    • 68 Metascore
    • 90 Critic Score
    Springall also deftly weaves the film's most dramatic moments with lighthearted comedy, and the result may be Mexico's best film in years.
  23. The movie survives beautifully both as an elegant thriller and as a study of the twisted infantilism that shapes the fanatic heart.
  24. In its formal daring and exquisite style, the movie is itself an act of resistance against what Godard sees as a modern triumphalist culture that turns historical truth to lies and love to images created to make money.
  25. Trueba reveals his subject organically, letting the music speak for itself.
  26. A true rarity, Murderous Maids is an intelligent, moral shocker.
  27. 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.

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