L.A. Weekly's Scores

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:
3750 movie reviews
    • 29 Metascore
    • 20 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.
    • 29 Metascore
    • 50 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.
  1. There is something fun about a movie that so brazenly portrays excessive pot smoking.
  2. 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.
    • 29 Metascore
    • 20 Critic Score
    Nice try, guys . . . now give me back my 97 minutes.
    • 29 Metascore
    • 40 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.
  3. 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.
    • 29 Metascore
    • 30 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.
  4. The Wayanses can be crude beyond crude, but they're so clever that their inventiveness takes the place of taste.
  5. 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.
  6. 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.
    • 29 Metascore
    • 40 Critic Score
    The tale has been tidied, buffed, waxed and polished into a harmless but relatively boring adventure.
  7. But since Costner canít save his movie, it's something of a stretch to think he might be able to save the world.
    • 29 Metascore
    • 10 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.
  8. 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.
  9. What this turkey produces in the way of hang-ups is a transparently phony class conflict.
  10. Anatomy of Hell offers one of the most hateful and mechanical representations of sexuality I've ever seen.
  11. We get director John Daly's feel-good tedium and a waste of a performance by the magnificent Landau.
  12. 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.
  13. 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.
  14. The biggest problem is that the character of Sabine is such a lame male fantasy of the enigmatic woman-child.
  15. By-the-numbers Oscar bait -- but Penn does manage, against such odds, to make us see Sam as a person, not a performance.
  16. 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.
  17. 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.
  18. If you take your ghost stories garnished with a dressing of sadism, sanctimony and silliness, go ahead and squander the nine bucks.
    • 28 Metascore
    • 40 Critic Score
    Excels at suspense and atmosphere, despite the garden-variety plot and an unintentionally hilarious - credit sequence .
  19. It's hard to imagine a movie at once more pandering and insulting to adult women
    • 28 Metascore
    • 30 Critic Score
    As long on violent slapstick as a Three Stooges retrospective.
  20. 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.
  21. Deadening comedy.

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