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 8.9 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
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.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Manohla Dargis
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.- L.A. Weekly
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- Critic Score
Directed lifelessly by sitcom vet David Kendall (Growing Pains), Dirty Deeds never shows real curiosity about its characters' pubescent world.- L.A. Weekly
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- 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.- L.A. Weekly
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- 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.- L.A. Weekly
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- 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.- L.A. Weekly
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- L.A. Weekly
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- L.A. Weekly
- Posted Apr 21, 2011
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Reviewed by
Nick Pinkerton
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.- L.A. Weekly
- Posted Jan 6, 2011
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Reviewed by
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- Critic Score
A dreadfully unfunny slog through contemporary dysfunctional family indie cliché.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Manohla Dargis
Although rumor and marketing indicate that this is meant to be a comedy, there's little that's funny here.- L.A. Weekly
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Reviewed by
Scott Foundas
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.- L.A. Weekly
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- Critic Score
Along the way, Zen Noir commits a few crimes of its own, against noir, Buddhism and filmmaking.- L.A. Weekly
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Reviewed by
Chuck Wilson
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.- L.A. Weekly
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Reviewed by
Hazel-Dawn Dumpert
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.- L.A. Weekly
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Reviewed by
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- Critic Score
Everything from the Rube Goldberg sets to the Jim Henson creatures is aimed squarely at a preschool audience.- L.A. Weekly
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Reviewed by
Ella Taylor
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.- L.A. Weekly
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- Critic Score
Be aware that RevoLOUtion is a remarkably well-made 75-minute inspiromercial.- L.A. Weekly
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Reviewed by
Chuck Wilson
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.- L.A. Weekly
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Reviewed by
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Reviewed by
Chuck Wilson
So dull, a road-trip movie that's surprisingly short of both adventure and song.- L.A. Weekly
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Reviewed by
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Reviewed by
Hazel-Dawn Dumpert
Transcends its video-box-shelf-filler pedigree only when it's actually indulging in guy stuff, mostly of the frat-boy, beer-commercial variety.- L.A. Weekly
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Reviewed by
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Reviewed by
Manohla Dargis
May just be the most boring movie ever made; certainly it's the most boring movie I've suffered through to the bitter end.- L.A. Weekly
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Reviewed by
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Reviewed by
Scott Foundas
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.- L.A. Weekly
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Reviewed by
David Chute
Skip the movie, stay home, read the book and say three Hail Marys.- L.A. Weekly
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- 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.- L.A. Weekly
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Reviewed by
Ella Taylor
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.- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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- Critic Score
Amounts to an assault of jarring music cues and peek-a-boo scares that starts off mechanical and ends up utterly desperate.- L.A. Weekly
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