L.A. Weekly's Scores

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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:
  1. Positive: 1,540 out of 3750
  2. Mixed: 1,542 out of 3750
  3. Negative: 668 out of 3750
3750 movie reviews
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  1. Bruce Almighty
    Carrey's schizophrenic new effort gives you both at once -- it drowns his hilarious physicality in an ocean of sap.
  2. King of the Corner
    I've never quite figured out what the poker-faced Peter Riegert does as an actor, but his matter-of-fact minimalism is always funny and affecting.
  3. The Triumph of Love
    What is surprising, and what one takes away most deeply and happily from Triumph of Love, is a refreshed admiration for Mira Sorvino.
    • L.A. Weekly
    • 55 Metascore
    • 60 Critic Score
    The Last Samurai
    The only history that bears a real influence on The Last Samurai is the history of Hollywood moviemaking, and the unfortunate way it has of turning extraordinary stories into hopelessly ordinary ones.
  5. Crazy/Beautiful
    Crazy/beautiful has a leisurely local specificity, and Stockwell has a tender way with his actors.
  6. The Minus Man
    A film without attitude or mystery...an exquisitely executed, and exquisitely banal, treatise on the banality of evil.
  7. CQ
    CQ is modest, especially for something bearing the grandiose family name, and it possesses both a tenderness and a quiet intelligence.
  8. A Talking Picture
    As a political statement it is either a cry of despair or a grim acknowledgment that in the endless cycles of history, civilization will always have its saboteurs.
  9. King of the Jungle
    Overall, King of the Jungle never quite achieves a necessary, culminating insight about charity, or mercy -- though Leguizamo's performance puts one in reach.
  10. Strangers with Candy
    The film is never really more than a series of loosely connected riffs and set pieces. That'd be fine except much of it is slack and airless; the laughs are many but they're too spread out -- a far cry from the series' heyday of taut, rapid-fire lunacy. Still, it's worth catching the film just for Sedaris' performance.
  11. The Hours
    You can only cram so much of this stuff into a movie without putting your audience to sleep -- The movie sags badly in the middle, swirling around itself without making headway.
  12. Cradle Will Rock
    Robbins has made a drastically different film from the one Welles envisioned -- it's wacky where Welles is absurd, cynical where Welles is canny.
  13. Escaflowne: The Movie
    A smoothly structured, earth-toned and well-drawn Japanese anime.
  14. CyberWorld
    Until the IMAX 3-D format is used to produce effects that are not trivial, it will never be anything more than what it is right now: a grandiose amusement park attraction.
  15. Hoot
    Hoot is flatly directed by talk-show-host-turned-sitcom-director Wil Shriner, but the young actors are spirited and appealing, and the movie's low-key anti-establishment posture is vastly preferable to the knee-jerk fulminations of a Michael Moore.
  16. Ted Bundy
    Has the crisp pace and bright-eyed facetious tone of a blackout-comedy sex farce.
  17. Exit Wounds
    Silver, manages the deft balance of making Seagal seem both genuinely courageous and charmingly blockheaded.
  18. Km. 0 - Kilometer Zero
    There's lots of half-naked flesh on display, and an enticing sense of hot action afoot (especially between the two gay guys), but the directors seem timid about sex, and really, what's the point of being Spanish if you're afraid to show the good stuff?
  19. Gandhi, My Father
    Gandhi, My Father radiates sincerity. It’s a beautifully shot and staged period reconstruction, and is at times impressively acted, at least in the secondary roles. What it lacks is fresh insight.
  20. The Big Tease
    How nice to see a new comic lead (Ferguson) with the confidence not to hog the screen.
    • 69 Metascore
    • 60 Critic Score
    Absolute Wilson
    Wilson is articulate and ironic, and Otto-Bernstein mostly shields us from his tantrums and critics.
  22. Bush's Brain
    A tad dry but never boring.
  23. Cadillac Records
    Director Darnell Martin (I Like it Like That) races through the script's bullet points with a brisk superficiality that leaves crucial plot points underdeveloped and unresolved, and refuses to engage the dark side of Leonard Chess’ paternalism.
  24. Firewall
    We spend too much time with the kidnappers - a veritable Geek Squad of undifferentiated techies - as each successive escape attempt is foiled and our eyes are warped by abundant shots of computer screens and grainy surveillance-camera footage.
  25. Midnight in the Garden of Good and Evil
    The film is consummately professional but phlegmatic, a slow fizzle.
  26. Mean Creek
    Estes never really completes a thought about this sorry group's moral dilemmas.
  27. Swing Vote
    The longer Swing Vote hangs around, the more engaging it becomes. It's twice as smart as you have any reason to expect but still only half as smart as you wish it were.
  28. The Night Listener
    As a performer, Robin Williams has a wonderfully volatile range; as an actor, he commutes uneasily between over-sincere and over-sinister. Both modes are on full monochromatic display in this stolid noir thriller.
  29. House on Haunted Hill
    Low-budget, high-camp.
  30. Jumper
    It's a feature-length teaser for a never-to-be sci-fi franchise.
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