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. 25th Hour
    Just about the only good thing you can say about Spike Lee's pointless, didactic The 25th Hour is that it's filled with strong performances, albeit of stock characters.
    • 31 Metascore
    • 30 Critic Score
    Max Payne
    The role requires Wahlberg to run the gamut of emotions from A to A.
  3. Night Falls on Manhattan
    Without serious political and ethical stakes, the story limps to a halt, shrouded in platitude and faux drama.
    • 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.
  5. The Hills Have Eyes
    An orgy of bloodletting and dismemberment that's more monotonous than shocking. Aja and Levasseur are to splatter what Liberace was to rhinestones: practitioners of gaud.
  6. Two Can Play That Game
    Ultimately neither freewheeling enough to work as a diverting entertainment nor barbed enough to strike home as any sort of social commentary.
  7. High Heels and Low Lifes
    Director Mel Smith (Bean) struggles to make up for the lack, clumsily juggling screwball dames and criminal elements, and trying to disguise the film's marked lack of vitality with split-screen tricks, jokey camera angles and a limp musical montage.
  8. Halloween: Resurrection
    If, as it appears, Rosenthal is competing with the knife-wielding Myers for the title of biggest hack, he wins by unanimous decision.
  9. Silver City
    Fails to allow the talented ensemble time to develop "Sunshine State’s" fine, Altmanesque ensemble feel, again and again missing the human and leaving cartoons that satisfy only as agitprop.
  10. The Rising Place
    As a first-time filmmaker who juggles such duties as writing, directing, producing, even playing piano solos on the soundtrack, Rice is in over his head.
  11. Venus Boyz
    Empty details pile up, awful performance art is doled out, talking heads are intermittently identified, and the late Brandon Teena is evoked to little real purpose.
  12. Returner
    Silly, derivative stuff.
    • 34 Metascore
    • 30 Critic Score
    The Messengers
    The end result looks heavily doctored: The Sam Raimi-produced feature is a badly acted, nonsensical patchwork of fake scares, crow attacks and wall-crawling CGI spooks, capped by a DVD extra of an ending that must have the real resolution gagged somewhere in a closet.
  14. Honey
    Hinges almost completely on the taut body and delectable beauty of Jessica Alba, but is otherwise so riddled with limp clichés that it doesn't even qualify as a guilty pleasure.
    • 27 Metascore
    • 30 Critic Score
    Zen Noir
    Along the way, Zen Noir commits a few crimes of its own, against noir, Buddhism and filmmaking.
  16. Next Friday
    After enduring 30 minutes of awful slapstick, shit jokes, gags revolving around used condoms, cholo caricatures, and women who are all psychos, sluts or Latina fuck-dolls, I walked.
  17. Napoleon Dynamite
    If Napoleon Dynamite really is, as reported, a semiautobiographical exercise, it is one of the most astoundingly self-hating such exercises in memory.
  18. Bobby G. Can't Swim
    The movie rarely overcomes its terminal Scorsese- and Ferrara-isms, or fulfills the promise, evident in the film's early passages, that Montias might be a fine observer of local color with his own unique stories to tell.
  19. Camp
    The movie is so rigged to elicit the audience's empathy that it becomes difficult to watch; it's stifling.
  20. The Story of Us
    The wet blanket of undigested autobiography lies all over Rob Reiner's excruciating new opus about a marriage winding down into terminal atrophy.
  21. Joe Dirt
    Rich with comic potential that goes unfulfilled, time after stupefying time.
  22. An Evening with Beverly Luff Linn
    While writer-director Jim Hosking’s commitment to weirdness (also seen in his previous outing, The Greasy Strangler) warrants appreciation, especially when so many others play it safe, his latest, comedy An Evening With Beverly Luff Linn, is a chore to get through.
  23. The Super
    Naturally, not everything is what it seems; there are a couple of necessary untruths even in this plot synopsis. But the part where it seems like some excellent actors have been roped into propping up a hopelessly by-the-numbers horror movie? That’s totally on the level.
  24. Hollow Man
    If only the rest of the movie were as good as its cast.
  25. One Missed Call
    If your cell phone vibrates while you’re watching One Missed Call, go ahead and answer, because even a wrong number will be more exciting than what’s happening onscreen.
  26. Trixie
    Director Alan Rudolph kills this promising film off with a combination of bad writing and wrong-headed direction.
  27. Phantom
    First-time director João Pedro Rodrigues' unwillingness to define his hero’s background or motivations becomes more and more frustrating as the film goes on.
  28. Jersey Girl
    Both stars are atrocious -- but the real blame for this cosmically self-indulgent disaster lies with Kevin Smith, who directs like a proud father who can't stop showing you pictures of his kids. And here's the thing: The brats are ugly.
  29. Hard Rain
    A nearly affectless Christian Slater, who carries a co-producing credit and seems to have lost his charisma along with his sneer, plays Tom, an armored-car guard who plays hide-and-seek with a gang of thieves, all of whom, outside of ringleader Jim (Morgan Freeman), are instantly forgettable.
  30. Nicotina
    Self-satisfied, incoherently busy farce.
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