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 8.8 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. The result is 90 minutes in the company of some of the nicest and most boring people you can imagine ever having a movie made about them.
  2. To the degree that ivans xtc. works, it's thanks to Huston's revelatory performance.
  3. The film should also wow fans of Herbert Wise's "I, Claudius" and Franco Zeffirelli's "Jesus of Nazareth" alike.
  4. Braff is bright and has a quick ear for vernacular dialogue, and he's caught the look and the sound of his blitzed, prematurely disillusioned generation, which has had to live with more lack of definition than most.
  5. Michael Schorr's delightfully deadpan comedy debut blew away the German box office, and once you let yourself sink into its gentle rhythms, as slow and deliberate as those of its protagonist and inflected with tiny but significant shifts of pace and tone, you'll see why.
  6. Yes, this is another faux rock documentary, but one so dramatically and visually textured that it reinvents that decidedly worn genre.
    • 67 Metascore
    • 80 Critic Score
    [A] wistful and moving portrait of quixotically dedicated artisans playing to half-empty houses, struggling for solvency and relevance — which renders it not just a movie about a theater in particular, but about the theater in general.
  7. Teems with ideas both literary and existential, which might make it unbearably precious, were it not redeemed by woozy charm and some serious acting from Will Ferrell.
  8. For all its simplicity, however, the film is entertaining, even uplifting, with Lopez giving a stellar, confectionary performance.
  9. The result is a glorious low-tech pleasure that may be the most lyrical, phantasmagoric boys' adventure story since Joe Dante's Explorers.
  10. A film in which the mechanics of the plot are far less interesting, and vital, then the interior landscape of men who exist outside the law.
  11. Deftly held together by bags of good humor and zany action sequences, tethered to a heartfelt conviction that green is good and family is better.
  12. Drake draws us in, digging deep to track the occasionally divine, always ridiculous journey that is big-city gay life.
  13. Maquiling offers us the unexpected pleasures of taking the side streets in a film about how even minor-key adventures can make a life stuck in low gear something to look back on.
  14. Ultimately just another celebrity bio-pic, and far less trenchant than, say, the more conventional "Auto Focus." For all their whirring ingenuity, Kaufman's scripts require a director who will tether his cleverness to reality.
  15. Me Without You is at its truest and most affecting when it steps back from the gig gling, bitching and nail biting to reveal how the compulsion to control and appropriate can be born of simple love and admiration.
  16. In the current flood of Holocaust documentaries, stories of righteous gentiles abound, but the singular beauty of Hiding and Seeking is its delicate but relentless probing of ambiguous motivation on the one hand, and its hearteningly conciliatory spirit on the other.
    • 67 Metascore
    • 60 Critic Score
    Punch-drunk, decadently designed slice of eye candy.
  17. While I could tell the love story was supposed to be moving, I kept feeling the characters' passion struggling against the virtuosity of Soderbergh's direction, which is so tight, so gorgeously lit, so worked that even when he wants scenes to be emotionally incandescent, they wind up detached, even chilly.
  18. As funny as it's got all year. Manipulative and calculating? Sure. Submit! Enjoy!
  19. Brilliantly edited for drama and irony, The Goebbels Experiment juxtaposes little-seen German propaganda films with excerpts from Goebbels' diary.
  20. On a purely visual level, it's the most powerful and viscerally exciting movie to come out of Hollywood this year. Which doesn't mean that it's all good.
    • 67 Metascore
    • 50 Critic Score
    The problem is that Ortega offers only the public Michael.
  21. If the trailer for this one left you feeling you'd pretty much got it, plot point by plot point, so really why bother.
  22. At 60 minutes, the film never stops feeling like a guided tour, while we're wishing it was a sleepover.
  23. Though The Page Turner clearly aims for ambiguity of meaning, you'd have to be blind, or deaf to the strenuously long-faced score, to miss the signs and portents that keep piling up in this dispiritingly transparent movie, which brandishes its foregone conclusion 20 minutes in.
  24. 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.
    • 67 Metascore
    • 50 Critic Score
    Though the movie promises a Behind the Music–type look at the meteoric rise and tragic fall of the Cosmos -- a team (if the press notes are to be believed) overwhelmed by wealth, groupies, rivalry and power struggles -- it all adds up to a tempest in a tea pot.
  25. You root for the kids, who are utterly captivating, but Green is another story. His shtick -- a combo of insufferable stage-parent and unbearable rock geek -- is exhausting.
  26. Nielsen beautifully embodies the sadness and confused sense of unreality that attend our appetite for the Internet's cheaper thrills.

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