L.A. Weekly's Scores

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For 3,750 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 A Bread Factory Part Two: Walk With Me a While
Lowest review score: 0 Deuces Wild
Score distribution:
  1. Positive: 1,540 out of 3750
  2. Mixed: 1,542 out of 3750
  3. Negative: 668 out of 3750
3750 movie reviews
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  1. Halloween II (2009)
    This time, Zombie doesn’t appear to have many deep thoughts, so Michael doesn’t just stab his victims, he slices and chomps them into gooey pulp — an overkill motif that actually feels false to the character and quickly becomes a depressing bore.
  2. Saint Ralph
    In fairness, the movie isn't the absolute worst of its kind and there's a certain charm to Butcher's amiable, puppy-eyed performance. But Michael McGowan's direction is as flat as an asphalt road, and his script is gasping for air long before it enters the final stretch.
  3. Feel the Noise
    Inane uplift tale for teens.
    • tbd Metascore
    • 30 Critic Score
    Moving McAllister
    Moving McAllister is a perfect storm of low-budget indie conventionality: a witless road comedy suffused with tons of phony Americana and forced romance featuring sheltered young white people whose minuscule worries about jobs and relationships are as inconsequential as the film’s negligible worldview.
  5. Birthday Girl
    Kidman, who speaks Russian for much of the movie, turns in a technically impeccable performance, but the movie gets far more out of her than she out of it.
  6. End of Days
    A dud.
  7. This Old Cub
    Won't be of much value to anyone besides die-hard Cubs fans or the Santo family itself.
  8. Going Down
    Going Down is woefully lacking in the comedy (or the sex for that matter), and even some of the teens look a little long in the tooth.
  9. The Event
    As reasoning, this is manipulative -- as filmmaking, it’s dull.
  10. Chelsea Walls
    Pretension, in its own way, is a form of bravery. For this reason and this reason only -- the power of its own steadfast, hoity-toity convictions -- Chelsea Walls deserves a medal.
  11. Wrong Turn
    The film does, in the end, raise something of an existential dilemma: If you set out to make a new version of something you know to be bad, and you make something that is in fact bad, have you somehow succeeded?
  12. Derailed
    Directed by Swedish filmmaker Mikael Håfström, who's clearly new at the genre, this aptly named movie is riddled with obvious parallels, crude moral talking points, a script so awful it's practically avant-garde, and a vain attempt at comic relief by RZA.
  13. Sorority Boys
    If only they had the courage of their crassness.
  14. Dead Man's Shoes
    Like so many movies of its kind, Dead Man's Shoes gets hopelessly lost in vicious process, and so loses all sight of anything you might optimistically call insight.
  15. The Weight of Water
    Provides an unfulfilled promise of pleasure (providing one doesn't cave in to the spectacle of bare-chested Elizabeth Hurley sucking on an ice cube) in this heavy-handed exercise in time-vaulting literary pretension.
  16. Confusion of Genders
    Surprisingly unsexy, uninvolving affair.
  17. Soul Survivors
    A horror movie that's not horrific enough, Soul Survivors plays like a "Twilight Zone" by way of "Touched by an Angel."
    • 31 Metascore
    • 30 Critic Score
    New Rose Hotel
    The first two-thirds are turgid enough; in the last, Ferrara begins replaying scenes we've already seen earlier in the film.
  19. Blast from the Past
    A flimsy premise to begin with, it’s been punctured beyond repair by an amateur script from Bill Kelly and director Hugh Wilson (The First Wives Club), and by Wilson’s shocking ineptitude with dialogue, framing and pace.
  20. Amy's Orgasm
    It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.
  21. Antitrust
    As a film, it essentially bites.
  22. Starsky & Hutch
    This depressingly uninspired action-comedy (based on the 1975–79 TV series) is Hollywood’s latest McMovie -- name-brand recognition as raison d’être or, if you will, creative bankruptcy on a very large scale.
    • 18 Metascore
    • 30 Critic Score
    Who's Your Caddy?
    No, it’s not Caddyshack -- just swap Jews (Rodney Dangerfield) for blacks (Big Boi) and you’ve got Who’s Your Caddy?. The movie, of course, is terrible.
    • 32 Metascore
    • 30 Critic Score
    The Santa Clause 3: The Escape Clause
    This is all really a big waste. At least the out-takes at the end are actually funny.
  25. Smiling Fish & Goat on Fire
    The best I can say for Smiling Fish is that it's capable and pleasant, which ought to sound a warning note louder than if I'd said it was awful.
  26. Under the Moonlight
    A flat, middlebrow variation on some of the central themes of recent Iranian cinema.
  27. Premonition
    They only want us to play that tiresome guessing game: Is it all a dream or is it really happening? Instead, you may find yourself asking: Is this cinema or merely Cinemax?
  28. The Brothers Solomon
    There is nothing sadder, either in real life or on the movie screen, than an unlikable idiot, and what we have with this dreadful comedy -- the longest 90 minutes of the film year -- is the sight of not one but two charm-free fools.
    • 39 Metascore
    • 30 Critic Score
    The Edge of Love
    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.
    • 36 Metascore
    • 30 Critic Score
    Death Sentence
    The only things anyone’s likely to remember, besides Bacon’s crazy-eyes act, are John Goodman’s soon-to-be-legendary turn as a bilious bug-eyed gun dealer and a hellacious back-alley/parking-garage chase shot from a careening fender-level camera. Like much of the movie, it’s as hammily dynamic as it is impossible to swallow.
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