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 8.8 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
Ella Taylor
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.- L.A. Weekly
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Reviewed by
Chuck Wilson
Mahieux, who is superb, methodically paint Peppino as a man for whom solitude is torture.- L.A. Weekly
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Reviewed by
Scott Foundas
Love him or loathe him, Avrich proposes, Wasserman mattered -- which is a lot more than can be said for most of the multinationals and their MBA-bearing surrogates who came to run the studios in his wake.- L.A. Weekly
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Reviewed by
Scott Foundas
This is as corny as it sounds, and yet not half as cloying and sentimental as you expect. At the end of the day, the horse may win the race, but the fate of the American heartland looms large and unresolved.- L.A. Weekly
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Reviewed by
Ella Taylor
Gaily seduces you into its fantasy life, then whacks you over the head with a finale that, intentionally or not, functions as a rebuke to the mad optimism of Benigni's pandering film- L.A. Weekly
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Mixing light magical realism with a more familiar brand of working-class gloom, Loach's warm, comic touch elevates the story of an aging man cracking up in plain sight.- L.A. Weekly
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Reviewed by
Ella Taylor
Part of the fun of Joshua is the skill with which Ratliff juggles horror and realism, feeding one into the other until we become part of the unraveling of the Cairns' perfect life.- L.A. Weekly
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Murray honors his buddy by presenting him as a sympathetic enigma - the puzzling center of this very human suspense thriller.- L.A. Weekly
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Reviewed by
Ella Taylor
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.- L.A. Weekly
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Mark Olsen
Its overall view of 12-year-old life is essentially one of high-spirited fun.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Serena Donadoni
No one does dissolute hubris with as much charm as Grant, and his ebullience is the perfect foil to the misanthropic McCarthy.- L.A. Weekly
- Posted Oct 18, 2018
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Reviewed by
Ernest Hardy
It's fair to assume that most viewers likely to see the film, whose title is the very definition of truth in advertising, already own the knowledge being sold.- L.A. Weekly
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This is wall-to-wall mayhem that dashes from one stylish, splattery, nonsensical set-piece to the next, while the star attacks her silly role with the carnivorous brio of an ocelot clawing a side of ham.- L.A. Weekly
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Reviewed by
Chuck Wilson
Has surprising depth and charm, descriptors never before ascribed to a movie starring Ashton Kutcher.- L.A. Weekly
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Sean's grandfather was the colorful longshore Communist Archie Brown, and part of the film's charm lies in its evocation of a generational mural that includes old Marxists, flower children and the progeny of red-diaper babies.- L.A. Weekly
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Reviewed by
Ella Taylor
The Hulk is a beautiful movie, but it's unlikely to win points as a monster flick -- it's too elegant, too whimsical.- L.A. Weekly
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Reviewed by
John Patterson
The small-town Irish feel of the movie is infectious, and McGrath uncovers some great supporting players.- L.A. Weekly
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Reviewed by
Ella Taylor
Why Capote liked the movie so much (or said he did) isn't entirely clear, for though it's a gripping piece of American Gothic, it's as thematically timid as it is formally flamboyant.- L.A. Weekly
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Reviewed by
Scott Foundas
These hunks of greased lightning tell how a gearhead SoCal teen got wind of the post-World War II hot-rodding craze, crossed paths with a pinstriper named von Dutch and ended up as the automotive visionary whom Tom Wolfe famously called “a genius of the only uniquely American art form.”- L.A. Weekly
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Hazel-Dawn Dumpert
Ultimately a wiser and truer film than its crass and cartoony beginnings would have us believe.- L.A. Weekly
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Reviewed by
Mark Olsen
There's something refreshing about a film set in Los Angeles that gets its L.A.-ness right -- the difference in vibe between Silver Lake and the Hollywood Hills, or the types of people at CityWalk versus Saks. It is that sense of specificity, both geographic and emotional, that gives Shopgirl its pull.- L.A. Weekly
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Reviewed by
Ernest Hardy
Although the hinges connecting the film's elements -- slapstick, political satire, thriller, gross-out shots -- sometimes squeak loudly, they hold the movie together nicely.- L.A. Weekly
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Hazel-Dawn Dumpert
The good news is that this off-the-wall ensemble comedy may just be the summer's happiest surprise.- L.A. Weekly
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This Southern Gothic Alice in Wonderland is not for the faint-hearted, to be sure, yet amid the swaying chaff there are moments of piercing grace and beauty when we'e reminded of the lost, lonely child at the heart of this tale. If nothing else, it's liberating to see one of cinema's unrepentant fantasists going out on a limb like this and cutting loose.- L.A. Weekly
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Reviewed by
Ron Stringer
While your personal estimation of this conservative counterprogrammer will depend largely on your politics, Chetwynd and company at least attempt to score their points honestly.- L.A. Weekly
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Hazel-Dawn Dumpert
Rozema seems determined to defrill the Austen trend and charge it with a fiercer sort of femininity.- L.A. Weekly
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Reviewed by
Ella Taylor
Solid and inspiring will do nicely for Christmas, but it ought not to be good enough for the Oscar nominations that will almost certainly rain upon this movie's adequate head.- L.A. Weekly
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F. X. Feeney
The love that grows between Fish and Poinsettia could have turned treacly in the wrong hands, but director Charles Burnett -- has the direct observational style of the silent masters.- L.A. Weekly
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Andrucha Waddington's admirably pretentious epic of woman in nature makes the rare attempt to impart a purely visual experience- L.A. Weekly
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