For 3,750 reviews, this publication has graded:
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46% higher than the average critic
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3% same as the average critic
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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: | A Bread Factory Part Two: Walk With Me a While | |
|---|---|---|
| Lowest review score: | Deuces Wild |
Score distribution:
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Positive: 1,540 out of 3750
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Mixed: 1,542 out of 3750
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Negative: 668 out of 3750
3750
movie
reviews
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- Critic Score
Nobody onscreen seems to realize that this deadeningly self-serious treatment of family dysfunction is so overwrought that it becomes a spot-on satire of low-budget ineptitude.- L.A. Weekly
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- Critic Score
Chopped down to 40 minutes, this could be a wickedly cool short; as is, it’s a passable slasher that’s still nowhere near the interspecies smackdown we geeks have long imagined.- L.A. Weekly
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Reviewed by
Mark Olsen
There is something fun about a movie that so brazenly portrays excessive pot smoking.- L.A. Weekly
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Reviewed by
Chuck Wilson
The story may not be new, but Australian director John Polson, making his American feature debut, jazzes it up adroitly, with a nifty, staccato editing technique that suggests Madison's inner turmoil and, in the process, fills in some of the shading missing from Christensen's performance.- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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- Critic Score
Make sense? No, it doesn't. But if you manage to endure the exposition, you'll get what you paid for: popping chests. Invisible stalkers. Nicely paced chases through corridors that constantly reconfigure in interlocking stone puzzles.- L.A. Weekly
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Reviewed by
Ernest Hardy
The film offers no new insights into its people or into the dynamics of the Hollywood machine -- the whole affair, played for low-intensity laughs, is numbingly familiar.- L.A. Weekly
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- Critic Score
There is one redeeming skirmish -- the climactic fight involving a snowy cliff and an elaborate pulley system -- but from the guy who's directed videos for Cher, Amy Grant, Billy Joel, and Bone Thugs-N-Harmony? We expected more.- L.A. Weekly
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Reviewed by
F. X. Feeney
The Wayanses can be crude beyond crude, but they're so clever that their inventiveness takes the place of taste.- L.A. Weekly
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Ella Taylor
Looking tired and sallow and drained of her customary glow, Lindsay Lohan marches grimly through this mechanical tween comedy as if it were a particularly tedious homework assignment. Which it is.- L.A. Weekly
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Reviewed by
Mark Olsen
Relies almost exclusively on the gushing exuberance of Gooding Jr., and the aw-shucks factor of his digitally expressive, face-licking canine co-stars, leaving such potentially game actors as James Coburn and M. Emmet Walsh out in the cold.- L.A. Weekly
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- Critic Score
The tale has been tidied, buffed, waxed and polished into a harmless but relatively boring adventure.- L.A. Weekly
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Reviewed by
Manohla Dargis
But since Costner canít save his movie, it's something of a stretch to think he might be able to save the world.- L.A. Weekly
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- Critic Score
Here, the CG effects are plentiful, but the scare factor rarely rises above the level of a viral email, and the desaturated color scheme of Sonzero and cinematographer Mark Plummer makes every frame look as though it was developed in a solution of vomit and ash.- L.A. Weekly
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Reviewed by
Ella Taylor
There's so much happening in the movie that it feels like nothing is happening at all. Which leaves you free to gaze, slack-jawed, on the true glory of Batman & Robin -- its fabulously color-coded set design.- L.A. Weekly
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Reviewed by
Ron Stringer
What this turkey produces in the way of hang-ups is a transparently phony class conflict.- L.A. Weekly
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Reviewed by
Ella Taylor
Anatomy of Hell offers one of the most hateful and mechanical representations of sexuality I've ever seen.- L.A. Weekly
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Reviewed by
Kim Morgan
We get director John Daly's feel-good tedium and a waste of a performance by the magnificent Landau.- L.A. Weekly
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Reviewed by
Ernest Hardy
What follows is one set piece after another in which the women make fools of themselves as the script herds them toward a happy ending of hugs and tears.- L.A. Weekly
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Reviewed by
John Patterson
Director Jordan Brady achieves the remarkable feat of squandering a topnotch foursome of actors -- particularly Theron, a very game and able comedienne -- by shoving them into every clichéd white-trash situation imaginable.- L.A. Weekly
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Reviewed by
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Reviewed by
Ernest Hardy
The biggest problem is that the character of Sabine is such a lame male fantasy of the enigmatic woman-child.- L.A. Weekly
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Reviewed by
F. X. Feeney
By-the-numbers Oscar bait -- but Penn does manage, against such odds, to make us see Sam as a person, not a performance.- L.A. Weekly
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Reviewed by
Paul Malcolm
A better title for this flick might have been Astigmatism: Nothing ever comes into focus long enough ... to deliver even the faintest sense of fright.- L.A. Weekly
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Reviewed by
Hazel-Dawn Dumpert
Writer-director Jon Gunn and co-writer John W. Mann can't fashion a meaningful parable from their knot of dangling plotlines and absurd scenarios.- L.A. Weekly
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Reviewed by
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Reviewed by
Ella Taylor
If you take your ghost stories garnished with a dressing of sadism, sanctimony and silliness, go ahead and squander the nine bucks.- L.A. Weekly
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Reviewed by
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- Critic Score
Excels at suspense and atmosphere, despite the garden-variety plot and an unintentionally hilarious - credit sequence .- L.A. Weekly
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Reviewed by
Ella Taylor
It's hard to imagine a movie at once more pandering and insulting to adult women- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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Reviewed by
Robert Abele
This feeble comedy-tragedy has Sirkian aspirations but never misses an opportunity to settle for being flesh-friendly gay-film-festival fodder. This is a vanity project, not so much acted as posed.- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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