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
  1. Animation fans, no matter their stylistic preference (computer-generated, claymation, old-school hand-drawn), will find much to sate their appetites in this collection of award-winning and critically acclaimed work. There’s not a dud in the bunch.
  2. Yet the pride and sympathy McNally brings to his characters reminds us how far gay film has progressed from the long, self-lacerating whine of "The Boys in the Band".
  3. To watch Joplin, Rick Danko, Jerry Garcia and Mickey Hart, all massively wasted, giggling and jamming, is a delight tempered by the knowledge that Joplin would be dead just months later, with the rest but one following after.
    • 70 Metascore
    • 80 Critic Score
    By crafting its message in mostly understated strokes, The Syrian Bride touches your heart, which you might not even fully realize until its deft, wordless final moments sweep by you.
  4. Certainly the movie is one of Schrader's most accomplished, and most entertaining, but there's something cold and unforgiving about his vision, delivered with a severity that only a bred-in-the-bone Calvinist could muster.
  5. Hectic, lyrical, swooningly romantic and almost unwatchably brutal, Purple Butterfly deploys a modern Asian gangster-movie aesthetic to tell a love story of Shakespearean dimensions.
  6. The Wayanses can be crude beyond crude, but they're so clever that their inventiveness takes the place of taste.
  7. Bergman's collaboration with Ullmann began when he directed her in "Persona" (1966). Here, with the roles nearly reversed, she shows herself as great an interpreter behind the camera.
  8. Infamous is the better Capote film, yes, but also the less easily digestible one, the more eccentric one and -- yes -- the gayer one.
  9. Satoshi innovates not by pushing off into more extreme realms of adolescent fantasy, but by using all the resources of animation to tell complex dramatic stories, resources that in his hands seem almost limitless.
  10. Born Into Brothels will break your heart, then warm it up and leave you with that 7-Up longing to know what happens next to Zana's kids.
  11. What makes Sunshine unique, what rewards a first viewing and lives in the mind long thereafter, is that Szabo has attempted to place Judaism and Christianity on a continuum that is both historically truthful and highly personal.
  12. A witty, well-crafted comedy that combines primal slapstick with sharp satiric banter to keep children and parents laughing together.
  13. The film’s appeal is at once sentimental and perverse: It’s not every day that you get to see a 92-year-old woman soloing on “Should I Stay Or Should I Go.” Not surprisingly, a feature remake is already in the works.
  14. The movie belongs quite rightly to Wendy, the most enchanting little girl in English fiction, and to the untrained actress, Rachel Hurd-Wood, who plays her.
  15. This impressive - and utterly depressing - feature debut is another in the current rush of testaments to the power of the new corporation to suck the goodness from its employees and all who have the misfortune to enter its orbit.
  16. Moll ratchets his suspense with impressive mastery, wringing a maximum of excruciating terror out of the humblest everyday materials.
  17. The film arrives at a familiar conclusion -- that war is hell -- but the getting there is made uniquely unsettling by Dumont's relentlessly anti-psychological disposition.
  18. Seldom have form, content and cultural sensibility been so excitably aligned as in this fascinating, exasperating film about the unholy marriage of power politics and global business.
  19. Like almost everything in this clever, brutal and strangely soulful movie, the time and place are accomplished by suggestion.
  20. This filmed record is a musical bliss-out.
  21. Signals the real end of the party, charting a denouement that arcs from blissful ignorance to violence and its ever-present threat to a final retreat.
    • 63 Metascore
    • 80 Critic Score
    Secretary's treatment of female sexuality is as matter-of-fact as its handling of self-mutilation, and the key to both is Gyllenhaal's remarkable performance.
  22. The story is bound together with gaming set pieces that are strange, inventive and mesmerizing.
  23. Dark, wickedly funny tale.
  24. Nunez is a master at rendering emotionally complex, ordinary folk into the kind of unassuming heroes that don't much appear in American films anymore.
  25. Despite his (Jeremy Irons) showboating turn and Dench's lascivious energy, it's Annette Crosbie, in her quiet way, who gives the most commanding performance, as the sister who sees all too clearly what's coming.
  26. It's a sweet chamber piece, beautifully played.
  27. The first half of Charlie and the Chocolate Factory is a brilliant blend of the best of Burton and Dahl, with some unexpected input from Charles Dickens. In the second half, the contraptions take over, drowning whatever story remains...But it falls frustratingly short of the masterpiece it might have been.
  28. A career best for the daughter of Charlie Chaplin.

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