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 8.9 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:
3750 movie reviews
    • 28 Metascore
    • 40 Critic Score
    Director Christian Alvart clearly attended horror’s new paint-shaker school of direction (motto: shaky = scary!), but the script’s twisty, end-of-the-world intrigue saves this otherwise leaden film from total self-destruction.
  1. Only a 10-year-old could parse the plot.
  2. The film means to be a darkly funny look at the perils of winning at all costs, but there's nothing dark and searching about its take.
    • 28 Metascore
    • 30 Critic Score
    Directed lifelessly by sitcom vet David Kendall (Growing Pains), Dirty Deeds never shows real curiosity about its characters' pubescent world.
    • 28 Metascore
    • 30 Critic Score
    That leaves little to fill 83 expendable minutes, which barely register as a movie even with snazzy KNB gore effects, critic-baiting clips from "The Birds," a splattery variation on the '86 "Hitcher's" most notorious scene, and some out-of-place Bruckheimerisms on loan from producer Michael Bay.
    • 28 Metascore
    • 10 Critic Score
    From Freestyle Releasing, the self-service distributor that brought you "D-War" and "In the Name of the King: A Dungeon Siege Tale," comes a movie even worse than those two combined.
    • 28 Metascore
    • 50 Critic Score
    Then the film gets all religulous, suggesting that Caleb's devotion to healing means nothing without Jesus, and so Fireproof stops becoming relatable to us all and only to the already, or easily, indoctrinated.
  3. Low-budget, high-camp.
    • 28 Metascore
    • 40 Critic Score
    The book proves proudly indigestible on film.
  4. The makeup department's glommed-on plague pustules are fantastic, but the concession to modern technology in a badly rendered last-act CGI demon, cut and pasted from a Diablo II screen-grab, is so eminently lame as to cure all fear of hellfire.
    • 28 Metascore
    • 10 Critic Score
    A dreadfully unfunny slog through contemporary dysfunctional family indie cliché.
  5. Surprisingly, not bad.
  6. Although rumor and marketing indicate that this is meant to be a comedy, there's little that's funny here.
  7. Like "Life Is Beautiful" before it, Imagining Argentina juxtaposes horrific images of torture and humiliation against gooey optimism and thinks it's saying something profound about human resilience in the process.
    • 27 Metascore
    • 30 Critic Score
    Along the way, Zen Noir commits a few crimes of its own, against noir, Buddhism and filmmaking.
  8. Rosman and Wendkos run dry of ideas in the film's inert, overextended finale, when the "Believe in yourself" speeches grow so thick that even the Duff-devoted may start rolling their eyes.
  9. This feeble remake offers little more than two pretty and willing leads who nonetheless can't hide their embarrassment over being set up as distractions to hide the film's thorough lack of coherence and appeal.
    • 27 Metascore
    • 20 Critic Score
    Everything from the Rube Goldberg sets to the Jim Henson creatures is aimed squarely at a preschool audience.
  10. Under Peter Hewitt's phoned-in direction, Garfield chugs along like the slow train to Chattanooga, with only Jennifer Love Hewitt, as the local vet, twittering pertly in a desperate effort to raise Jon's feeble pulse.
    • 27 Metascore
    • 60 Critic Score
    Be aware that RevoLOUtion is a remarkably well-made 75-minute inspiromercial.
  11. Surely the only thing more excruciating than being trapped in a car with a bratty child is having to sit through a road-trip movie that features two of them.
  12. So dull, a road-trip movie that's surprisingly short of both adventure and song.
  13. Transcends its video-box-shelf-filler pedigree only when it's actually indulging in guy stuff, mostly of the frat-boy, beer-commercial variety.
  14. May just be the most boring movie ever made; certainly it's the most boring movie I've suffered through to the bitter end.
  15. What the movie needs is a director, and what it gets instead is Pitof, a French visual-effects maestro so much fonder of technological wizardry than of human flesh that he manages to turn even his slinky, sinuous star attraction into a digitized synthespian frolicking about endless CGI cityscapes.
  16. Skip the movie, stay home, read the book and say three Hail Marys.
    • 27 Metascore
    • 70 Critic Score
    Neveldine and Taylor’s spazzy (but coherent) action scenes rely mostly on blood spurts instead of feats of badassery, but their dystopia is inventive and their visual schemes diverse.
  17. A degraded and degrading film, of interest only because it's symptomatic of so much that's wrong with the drearily repetitive tabloid mentality that has infected not just the news media, but the whole culture industry.
  18. A work of top-shelf schlock.
    • 27 Metascore
    • 30 Critic Score
    Amounts to an assault of jarring music cues and peek-a-boo scares that starts off mechanical and ends up utterly desperate.

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