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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    • 29 Metascore
    • 20 Critic Score
    Ethan Mao
    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.
  2. Sex: The Annabel Chong Story
    Now that's exploitation.
  3. Little Voice
    As mean-spirited toward its working-class characters, especially its women, as it is profoundly unfunny.
  4. Prom Night
    McCormick and screenwriter J.S. Cardone don’t have one original thought between them, but they do appear to share an obsession with characters opening hotel-room closets in which the steel hangers gleam ominously.
  5. The Man Who Cried
    A star ensemble is preposterously miscast.
  6. Waking Up in Reno
    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.
    • 48 Metascore
    • 20 Critic Score
    Spanglish
    Spanglish is Brooks' unqualified kitchen disaster - a desperate, shapeless, overreaching big-screen sitcom of a movie that just wants to be loved. Is that so wrong? In a word, yes.
  8. Eating Out
    Deadening comedy.
  9. The Chumscrubber
    Shrill, smug would-be satire.
  10. Double Take
    An ostensible action-comedy that can't seem to get either side of its genre equation right.
    • 27 Metascore
    • 20 Critic Score
    The Flintstones in Viva Rock Vegas
    Everything from the Rube Goldberg sets to the Jim Henson creatures is aimed squarely at a preschool audience.
  12. Cleopatra's Second Husband
    Reiss guides the film with a firm hand, ratcheting up the tension and ably guiding his actors. It's his protagonists that undo the film, making it a chore to sit through.
    • 33 Metascore
    • 20 Critic Score
    Code Name: The Cleaner
    Cedric gets some help from a butt-kicking babe (Lucy Liu) who may or may not be his girlfriend, and if you believe this pairing could plausibly happen, you might be gullible enough to buy a ticket to this movie.
    • 60 Metascore
    • 20 Critic Score
    Glastonbury
    Pretentiously impressionistic, sloppy almost to the point of self-parody, Temple’s film is New Journalism without the journalism -- or, alas, the drugs.
  15. White Boy
    Here, Lohman's luminous presence rises above the badly directed violence and mayhem -- even if the movie's a dud, she's a star.
  16. My Boss's Daughter
    This may be celebrity prankster (and pinup du jour) Ashton Kutcher’s most elaborate practical joke to date: the gag being that this is a real movie and that he’s a real movie star.
  17. View from the Top
    Just lies there, poorly lit and tone-deaf.
  18. Blade
    Working from a script by David S. Goyer ("Dark City") that lacks any sense of humor or character, Snipes seems unsure if he should vamp it up or play it straight, while Dorff just plain sucks.
  19. Pokémon 4: The Movie
    It's animated cockfighting for children.
  20. Amélie
    Sucks -- because it's a frenetic bore that insists on its audience's adoration while making no demands upon their intelligence.
  21. Get Over It
    A lobotomized updating of "A Midsummer Night's Dream."
  22. Formula 51
    A waste of the filmmakers' time and ours, and offering further evidence that, outside the art house, much British cinema has its head jammed tightly up its own arse.
  23. FeardotCom
    The film, whose clumsy editing and dearth of establishing shots keep the viewer in an unintended state of confusion, is a corpse in its own right: It’s filled with the rotting ideas of far better movies.
  24. They
    The film stinks from start to finish, like a wet burlap sack of gloom.
  25. London Fields
    Mathew Cullen’s calamitous film adaptation of Martin Amis’ London Fields plays like the hazy recollection of someone who hated the book, an incomprehensible jumble of misogynistic claptrap. It dashes joylessly through dense material, too quickly for individual moments to register, much less resonate.
  26. Price of Glory
    It's outclassed by the memory of just about every prizefighting flick you've ever seen.
    • 12 Metascore
    • 10 Critic Score
    Strange Wilderness
    No snob to low-brow ridiculousness when it’s actually unexpected, I’ll admit to being amused exactly once, when Zahn gets deep-throated by a gigantic prop turkey who, despite the mouthful, keeps on flapping.
  28. Deep Impact
    Mimi Leder shows none of the vigor she exhibited when directing for E.R., and screenwriters Michael Tolkin and Bruce Joel Rubin betray a real aptitude for hack work.
  29. Half Baked
    The film's deadly lulls outweigh its infrequent highs.
    • 14 Metascore
    • 10 Critic Score
    What Love Is
    Actor-writer-director Mars Callahan's diarrheal 10-character rant about modern relationships sounds like it was researched by eavesdropping on the restroom chatter at a high school prom.
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