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 8.9 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. Some Fish Can Fly
    In the end, Some Fish Can Fly doesn't.
  2. Sonny
    Preposterous and tedious, Sonny is spiked with unintentional laughter that, unfortunately, occurs too infrequently to make the film even a guilty pleasure.
  3. National Security
    The career of the lovably tense Zahn may benefit more from this movie than that of Lawrence, who’s funny, here and there, but who appears to be working at half speed.
    • 31 Metascore
    • 10 Critic Score
    Idle Hands
    Many in the youthful target audience won’t be able to identify the "homages," and the script is far too lazy for seasoned horror fans to stomach.
  5. The Life of David Gale
    The movie's one unalloyed pleasure is a funny Goth Girl, played by Melissa McCarthy, who grasps, as Parker apparently doesn't, that the script is energetic rubbish, not The Greatest Story Ever Told.
  6. Abominable
    Not quite aptly titled, but close, writer-director Ryan Schifrin's cheapo horror opus pits everyone's favorite hirsute hominoid against the denizens of a remote town nestled at the base of a mountain called Suicide Peak. It's not much of a contest.
  7. Slutty Summer
    The drama is unintentionally humorous, the humor incredibly labored and the acting rarely better than one might find in a Chi Chi LaRue XXX production.
  8. Harry + Max
    It's one of those rare movie failures that truly warrants being called ambitious.
  9. A Day Without a Mexican
    A terrific premise is mangled to a pulp, then beaten to death in this forced mockumentary.
    • 30 Metascore
    • 60 Critic Score
    The Cave
    Despite the striking underwater photography and production values, much of this feels like Alien: Stalagmite Edition. But if it isn't original, The Cave does demonstrate that you can always elevate threadbare material by keeping your ambitions modest.
  11. The Final Destination
    Ellis and screenwriter Eric Bress even go all meta on us with an "Inglourious Basterds"–esque finale set inside a 3D cinema, though their set pieces never quite muster the giddy brio of "Final Destination 1" and "3" auteur James Wong at his best.
  12. Off the Lip
    What comes off as clever at first quickly wears out -- even the sudden cutaways to spectacular surf footage can't save this wipeout.
  13. Saw VI
    Taken just as an objet d’art, Saw VI — gray, grisly, solemn, stupid — would be about the most dismal thing I’ve ever laid eyes on, the argument against film preservation. But it vaults into the realm of real detestability through pretensions of relevance.
  14. Over Her Dead Body
    Many a comic potentiality is underworked, and the film's prevailing tone is obnoxiously erratic -- surely the supporting eccentrics (Jason Biggs and Lindsay Sloane) aren't supposed to be so off-putting? -- but it rests safe when entrusted to the charisma of its principals.
  15. Love in the Time of Money
    The film ultimately offers nothing more than people in an urban jungle needing other people to survive. Kane's character observes that "We’re all connected by love" -- and that sounds familiar, too.
  16. Gods and Generals
    By highlighting the human costs of slavery to everyone BUT the enslaved -- here, relations between African-American domestics and their owners are cordial, even respectful, on both sides -- Maxwell risks being pilloried as an apologist for that institution.
  17. The League of Extraordinary Gentlemen
    Extraordinary is the very last adjective that comes to mind.
  18. The Art of War
    Slick, noisy thriller.
  19. Queen of the Damned
    Townsend and Aaliyah are sexy as hell, and clearly willing and able to explore the darker truths of villainy, but they can't compete against the unwieldy script.
    • 30 Metascore
    • 50 Critic Score
    Waiting...
    McKittrick cites "Dazed and Confused" as well as "Clerks" as influences, yet he lacks the raw edge of early Smith and the existential drift of Linklater. And if side-splitting laughter is what you crave, Waiting . . . will leave you hungry for a slice of American Pie.
  21. White Noise
    No, this isn't an adaptation of Don DeLillo’s great 1985 novel, but a muddled talking-ghosts movie.
  22. Exorcist: The Beginning
    The “surprise” ending, when it comes, is more of a hoot than a holler.
  23. The Texas Chainsaw Massacre: The Beginning
    Few surprises lie in store for connoisseurs of torture cinema, though unlike its 2003 predecessor, this Massacre owes less to Bay’s attention-deficient aesthetics than to the measured, Georgia O’Keefe-on-acid sensibility that guided Tobe Hooper and Kim Henkel’s much-cannibalized original.
  24. Marmaduke
    Brad Anderson’s long-running saga of the melty-looking Winslow family and the gangling, interfering Great Dane that should’ve been put to sleep ages ago gets a film treatment.
    • 30 Metascore
    • 60 Critic Score
    The Oil Factor: Behind the War on Terror
    Ungerman and Brohy spread themselves a little thin across the map of U.S. intrigue, abruptly losing sight of Iraq while retreading familiar ground about early American backing of the Taliban.
    • 30 Metascore
    • 30 Critic Score
    Cats & Dogs: The Revenge of Kitty Galore
    About as unremarkable as a film about talking animals organized into competing intelligence agencies can be.
  27. John Q
    A coercive script by James Kearns, and some middling direction by Nick Cassavetes, can't rob the movie of an undeniable, headlong crowd-pleasing power.
  28. Blackwoods
    Whatever the cause, everyone involved takes this blend of slick Verhoeven sleaze and Deliverance-brand musk way too seriously.
  29. Deuce Bigalow: Male Gigolo
    It's short, this movie, an attribute Sandler himself might take heed of, and if the teenagers in the back row are laughing harder and more often, you might at least find yourself smiling (guiltily) every few minutes.
  30. American Adobo
    The film's failings are only highlighted by the fact that while, occasionally, we're granted real glimpses of interior lives, largely emanating from de Leon, Davao and Picache, those lives are never given the chance to take shape.
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