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 8.7 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
- By Date
- By Critic Score
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Reviewed by
Manohla Dargis
It doesn’t add up to much, which is part of the point as well as the fun, but what makes the film noteworthy is its pure pop adrenaline.- L.A. Weekly
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Reviewed by
John Patterson
What's left is "Masterpiece Theatre," a very clean, straightforward adaptation of a beautifully constructed play, faithful to a dead man's classical virtues -- harmony, proportion, balance -- if not to the director's own, more iconoclastic ones.- L.A. Weekly
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Reviewed by
Ella Taylor
A sexy, hugely enjoyable romp, hedged with lyrical grace notes and intimate detail.- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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Reviewed by
Ella Taylor
Laila’s Birthday is beautifully shot and overlaid with a spare, lyrical score that lends rueful emphasis to Masharawi’s exasperated fidelity to a chronically malfunctioning city.- L.A. Weekly
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Reviewed by
Bilge Ebiri
It makes for an intriguing combination of tones and rhythms — urgency running up against paralysis — that speaks to the twisted dynamism of our political process, then and now.- L.A. Weekly
- Posted Nov 8, 2018
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Reviewed by
Ella Taylor
The movie is a great piece of populist outrage and a dangerously good comedy about a looming American tragedy.- L.A. Weekly
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Reviewed by
Ella Taylor
This powerfully rough slice of neo-realism, hitched to soapy melodrama, puts a heartbreakingly human face on the widespread problem of sexual assault in Mexico.- L.A. Weekly
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- Critic Score
It's a style at once ravishing and mysterious, austere and intimate, carrying with it the suggestion that even cinema may be powerless to invade the most clandestine antechambers of human behavior.- L.A. Weekly
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Reviewed by
Scott Foundas
This meticulously well-made picture is disarmingly funny at times - not least during the ballet of bloody absurdity that is the assassination itself - but also subdued and straight-faced, with one eye planted on 1979 and the other on the violent student demonstrations looming in the distance.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Ella Taylor
With its ludicrous parallels and brisk, funny script (pardon my provincialism, but it sounds all the funnier in Danish), Italian for Beginners is full of larky charm while drawing its emotional vitality from urban loneliness.- L.A. Weekly
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Reviewed by
Ella Taylor
Warm, playful and inventive, this tale of an elephant with a spirit as generous as his waistline comes juiced with the genially goofy animation of the folks who brought us "Ice Age" (and, less memorably, "Robots") coupled with a respectful doffing of the cap to Geisel’s exuberantly wacky visual style.- L.A. Weekly
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Reviewed by
Hazel-Dawn Dumpert
The film's best and scariest moments come when Miles is confronted with scenes that he translates into proof of the Wendigo's power.- L.A. Weekly
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- Critic Score
Morris is a more talented filmmaker than he is an interviewer. Mean-while, McNamara is a subject so complex and so rich in nuance that he requires no cinematic embellishment.- L.A. Weekly
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Reviewed by
Ella Taylor
British director, Roger Michell, strikes an assured balance between intense mood piece and Gothic chiller.- L.A. Weekly
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Reviewed by
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- L.A. Weekly
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Reviewed by
Manohla Dargis
Although much has and will be made of the film's sexual explicitness -- and, yes, it is a bit -- this less-than-perfect but deeply felt film is finally most daring for its hard-core insistence on our need for connection.- L.A. Weekly
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Reviewed by
Ernest Hardy
But if you go in knowing this, the payoff is considerable - the film delivers on its feel-good promise.- L.A. Weekly
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Reviewed by
Ella Taylor
All but a silent movie, Frédéric Fonteyne’s strikingly atmospheric film - adapted by Philippe Blasband and Marion Hänsel from a 1937 novel - relies on the extraordinarily mobile face of Emmanuelle Devos to express the pain of a woman who has no language for her inner turmoil.- L.A. Weekly
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Reviewed by
David Chute
Startlingly raw and honest, playing at times like one of those blistering Donald Goines blaxploitation pulp novels, only with Jesus.- L.A. Weekly
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Reviewed by
Ella Taylor
Had this idea been pursued to its conclusion instead of the pat, wishfully ready-for-TV ending we're fed, the movie would be a standout.- L.A. Weekly
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Reviewed by
F. X. Feeney
A sharp, upbeat, well-wrought meditation on love and race that kicks the new year in movies off to a terrific start.- L.A. Weekly
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Reviewed by
Ernest Hardy
The film is beautifully shot and filled with fine performances.- L.A. Weekly
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Reviewed by
Scott Foundas
At its best, Behind the Mask offers some, um, cutting insights about mass-media blood lust and the cult of the serial killer, and in Baesel, who is by turns charming, manic and thoroughly scary, it has a gifted young actor who clearly relishes a role he can sink his pitchfork into.- L.A. Weekly
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Reviewed by
Scott Foundas
One of the best part 3's ever made, and Rodriguez's knack for concocting the most imaginatively deranged children's entertainments since "Willy Wonka and the Chocolate Factory" remains unassailed.- L.A. Weekly
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Reviewed by
Ella Taylor
A morally complex and emotionally satisfying drama about the vagaries of Catholic response to the Third Reich.- L.A. Weekly
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Reviewed by
Hazel-Dawn Dumpert
Well-acted, briskly paced and prettily photographed, the film is a mild-mannered family story with a caring heart, and that's ultimately enough to make its 104 minutes worthwhile.- L.A. Weekly
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Reviewed by
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- Critic Score
The cast is brilliant, not least of all Reilly -- vaguely despicable, smooth as an oil slick and altogether mesmerizing in the most impressive screen performance he's yet given.- L.A. Weekly
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- L.A. Weekly
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