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
- By Date
- By Critic Score
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Reviewed by
Ernest Hardy
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.- L.A. Weekly
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Ella Taylor
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".- L.A. Weekly
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Hazel-Dawn Dumpert
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.- L.A. Weekly
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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.- L.A. Weekly
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Reviewed by
Ella Taylor
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.- L.A. Weekly
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Ella Taylor
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.- L.A. Weekly
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F. X. Feeney
The Wayanses can be crude beyond crude, but they're so clever that their inventiveness takes the place of taste.- L.A. Weekly
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F. X. Feeney
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.- L.A. Weekly
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Scott Foundas
Infamous is the better Capote film, yes, but also the less easily digestible one, the more eccentric one and -- yes -- the gayer one.- L.A. Weekly
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David Chute
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.- L.A. Weekly
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Ella Taylor
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.- L.A. Weekly
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F. X. Feeney
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.- L.A. Weekly
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F. X. Feeney
A witty, well-crafted comedy that combines primal slapstick with sharp satiric banter to keep children and parents laughing together.- L.A. Weekly
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Scott Foundas
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.- L.A. Weekly
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John Patterson
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.- L.A. Weekly
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Ella Taylor
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.- L.A. Weekly
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F. X. Feeney
Moll ratchets his suspense with impressive mastery, wringing a maximum of excruciating terror out of the humblest everyday materials.- L.A. Weekly
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Scott Foundas
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.- L.A. Weekly
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Ella Taylor
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.- L.A. Weekly
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Ella Taylor
Like almost everything in this clever, brutal and strangely soulful movie, the time and place are accomplished by suggestion.- L.A. Weekly
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- L.A. Weekly
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Hazel-Dawn Dumpert
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.- L.A. Weekly
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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.- L.A. Weekly
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Reviewed by
Mark Olsen
The story is bound together with gaming set pieces that are strange, inventive and mesmerizing.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Ernest Hardy
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.- L.A. Weekly
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Ella Taylor
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.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Ella Taylor
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.- L.A. Weekly
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- L.A. Weekly
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