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. George of the Jungle
    This bit of fluff overflows with so much honest charm it barely matters that it's one in a seemingly endless succession of Tarzan retreads.
  2. Mousehunt
    The movie's real charms lie in its surprisingly dark atmosphere and its almost subversive sense of humor.
  3. The Siege
    The pre-posterous plot is a far-fetched way to dis-cuss the power and meaning of the Consti-tution in the context of international terror-ism.
  4. The Basket
    Well-acted, briskly paced and prettily photographed, the film is a mild-mannered family story with a caring heart, and that's ultimately enough to make its 104 minutes worthwhile.
  5. The Promise
    Some critics are badly selling the film short, when the story it tells, measured strictly in terms of emotional power and overall fun, is as moving and pleasurable as any matinee item by Ford, Hawks or Raoul Walsh.
  6. Looking for Comedy in the Muslim World
    The question for skittish distributors is not whether Looking for Comedy will play in Peshawar, but how long the movie will take to put Peoria to sleep.
    • 53 Metascore
    • 70 Critic Score
    Quarantine
    It's a shame that this English-language cover of an excellent Spanish shocker will eclipse the original, at least in U.S. theaters -- but even those who despise remakes will have to admit that director John Erick Dowdle's furious retread is scary as hell.
  8. Lucky Number Slevin
    Another drearily sadistic and pointless crime thriller.
  9. Rounders
    Though the movie looks gorgeous, glittering with the monochromatic beauty of noir transposed into the key of yellow, it chugs along like an overly responsible documentary, more the working out of an idea about the gambler's true nature than a story.
    • 53 Metascore
    • 70 Critic Score
    The Tigger Movie
    A gas, full of just enough whiz-bang animation, but not too much to ruin what has always made Pooh and friends -- adventures work in the past.
  11. Group
    Some psychobabble ("We're all trying to be who we are") is inevitable, but somehow or other the thing works, largely because the acting, though primarily reactive, invests the movie with enough immediacy and specificity to turn the most excruciating banality into an original thought.
  12. The Fluffer
    Saturated with deep, rich color and low-key visual wit, and graced with sympathetic performances.
  13. Flightplan
    Schwentke handles the claustrophobic environment efficiently enough, though he dallies too long before letting anxiety give way to action.
  14. Crash
    For all the director's visual flair, his trademark flashes of gallows humor and his few good moments, there's never a sense that he's made Crash his own.
    • 53 Metascore
    • 40 Critic Score
    In Too Deep
    Enough gunfights, vicious beatings, and pissing matches for five films.
  16. Imaginary Heroes
    This schizophrenic mess zigzags all over the place, trying to figure out whether it's a dysfunctional-family drama, a slapstick comedy or an angst-ridden coming-of-age movie.
  17. Sobreviviré
    The film's jarring shifts in tone ultimately serve well the complexity of the film's narrative entanglements; they feel more honest than similar Hollywood offerings.
  18. Lost and Delirious
    Blessed with a lovely score and strong acting, but crippled by an awkward, mawkish script.
  19. Tea with Mussolini
    This gets my vote as director Franco Zeffirelli’s finest film. Certainly, it’s his most personal.
  20. De-Lovely
    If you're a Cole Porter fan you might like the songs in De-Lovely, but as a portrait of an unusual marriage it's de-lumbering, de-liberate and de-cidedly flat.
  21. Vanity Fair
    Turgid, melodramatic travesty of Thackeray's gimlet-eyed satire.
  22. He Was a Quiet Man
    He Was a Quiet Man casts its own perversely funny spell thanks in large part to Slater, whose wonderfully shifty, beaten-down performance is easily his best in the 17 years.
  23. Palindromes
    With the possible exception of Neil LaBute, I can't think of a filmmaker who can divide an audience as efficiently as Solondz.
  24. Lost Highway
    It's a soulless and dull bit of showmanship, but it sure sounds profound.
  25. Apres Vous (After You)
    The best that can be said for this excitable, harmless romantic comedy is that it is smoothly directed by Pierre Salvadori.
  26. We Are Marshall
    McG's Marshall lies at the nexus of Thornton Wilder and Norman Rockwell -- it's David Lynch without the irony -- and if he overdoes things a touch, there’s nothing disingenuous about it.
  27. Enemy at the Gates
    Despite the success of these action sequences, Annaud and his ultraserious cast are so determined (admirably) to keep war from seeming romantic that we are never quite pulled into the movie.
  28. Focus
    A hyperreal, visually layered period style that finds film noir shadows creeping in at the edges of a blue-sky, get-along-to-go-along America.
  29. ABCD
    An observant comedy of cross-cultural befuddlement in a half-assimilated immigrant family, with occasional spasms of propagandistic pleading on behalf of the younger generation.
  30. Passionada
    Nearly drowns in languor, only to be saved by Milos and Isaacs, who are sexy, movie-star talented and, together, really good kissers.
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