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. Dead or Alive
    Not for the squeamish (a guy rips out his own arm, for goodness' sake), the film is nevertheless more than just a gonzo gross-out. But not by much.
  2. Around the World in 80 Days
    Despite the rush to get everyone from place to place, director Frank Coraci (The Wedding Singer, The Waterboy) luxuriates in colorful visual detail and gives the locals their due.
  3. The Flying Scotsman
    It has a terminal case of the cutes crossed with the labored earnestness of a disease-of-the-week melodrama.
  4. The Black Dahlia
    Swank's character and her performance are good enough to merit a movie of their own, instead of serving as fourth wheel to this lifeless ménage à trois.
  5. An Unfinished Life
    The 68-year-old actor (Redford) segues into full-blown irascible-old-man mode, and though the transformation isn't quite as compelling as it sounds, it's easily the best thing going for this Lasse Hallstrom–directed, Wyoming-set weepie.
    • 49 Metascore
    • 40 Critic Score
    Imagine Me & You
    But while the film's tasty London settings add a whiff of elegance, Parker's confection collapses because we never believe Rachel and Luce as destined soul mates. The blame rests entirely with Perabo's meager performance.
  7. The Family That Preys
    What's memorable here is the sparkling chemistry between Bates and Woodard, whose scenes together are a pleasure to watch, even as one thinks that their next outing should be to co-teach a master class entitled, "How To Rise Above Cliché."
    • 49 Metascore
    • 40 Critic Score
    Azumi
    Failing in its attempts at Zhang Yimou–like poetry, Azumi calls to mind a long, blood-splattered director's cut of a Power Rangers episode.
    • 49 Metascore
    • 50 Critic Score
    Open Season
    On the plus side, Open Season enjoys a clear narrative, real rooting interest and good interspecies rapport. On the downside, there’s a surfeit of cruel bunny-rabbit gags.
  10. Glamour
    Most of the movie is observant and level-headed, a tip of the hat to ordinary schlubs entangled in vast events, people who would otherwise be background victims in a conventional historical drama.
  11. Me, Myself & Irene
    For all their foul jokes and embarrassments, the brothers have a talent for creating characters whose goodness, and lack of ironic self-consciousness, shield them against life's insults.
  12. Zhou Yu de huo che
    If Zhou Yu’s Train is finally no more than whimsy, it’s classy, delicate whimsy, a testament to the way romantic love, however unsatisfied, continues to drive itself.
  13. Preaching to the Choir
    Formulaic but innocuous little movie's one clever moment, a sing-off between choirs standing on their respective church steps, trying to lure in Sunday-morning worshippers.
  14. The Man in the Iron Mask
    Going down with the Titanic was a picnic compared to what Leonardo DiCaprio has to weather (an Alice in Wonderland hairdo, for starters) as Louis XIV in this unwittingly nutso adaptation of Alexandre Dumas' 1850 novel.
  15. Hart's War
    A decent thriller trying to overcome a rather preposterous premise.
  16. K-PAX
    Manipulative, feel-good drivel wrapped around a cloying performance by Kevin Spacey.
  17. The Emperor's Club
    This likable but utterly conventional movie works harder than is necessary to unpack for us Ethan Canin’s short story "The Palace Thief."
  18. Jeepers Creepers
    Salva falls back on dull, jumbled action and an awkward subplot as he lurches toward a sequel.
  19. Dr. Dolittle 2
    The best that the good doctor (Murphy) can do, encumbered as he is by Larry Levin's screenplay and its low joke quotient, is discipline the dog, lay into the lizard and shtick it to the bear.
    • 49 Metascore
    • 70 Critic Score
    The Greater Good
    The pace of the film remains fairly brisk, in no small part because what's being said is staggering, especially if you don't know too much about the science of and politics behind vaccines.
  21. Scary Movie 3
    As in the late-period works of Mel Brooks, the very structure of the film feels irreparably fatigued.
    • 49 Metascore
    • 40 Critic Score
    Pitch Black
    This is damaged goods from the opening Poly Gram logo.
  23. Romance
    There's never been a movie director like Catherine Breillat, a fearless visionary and one hell of a woman.
  24. Scotland, Pa.
    It's a setup so easy it borders on facile, but keeping the film from cheap-shot mediocrity is its crack cast.
  25. Down and Out with the Dolls
    Like a good punk tune, the filmmaker's focused energy distracts from compositional flaws, all the better to enjoy visceral pleasures such as a spot-on Zoë Pouledouris as preening singer Fauna.
  26. Rosenstrasse
    Von Trotta and co-writer Pamela Katz can't resist cutting, again and again, to Hannah and her airless musings on the story's meaning. These interludes stop the movie in its tracks and, counter no doubt to von Trotta's intentions, do a disservice to the Rosenstrasse women themselves, who shouldn't have to fight for screen time.
  27. Return to Never Land
    Cleverly structured, fast-paced, funny, even moving.
  28. Scoop
    The direction is lazy and the script thoroughly witless, from its token Bergman references to dialogue that suggests a night in borscht-belt hell.
  29. A Lot Like Love
    Peet is triumphant as the beguiling object of desire with wounded-bird eyes and devilish smile -- sexy and tart, then, in the space of a breath, totally, tenderly tragic. Like Oliver, we'd happily follow her anywhere.
  30. Secuestro express
    Too often, though, Jakubowicz falls back on his relentlessly pirouetting DV camera, attention-deficient editing and ear-splitting sound effects as a substitute for real tension, or a more piercing inquiry into the bubbling tension between South America's haves and its poverty-stricken have-nots.
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