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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    • 48 Metascore
    • 40 Critic Score
    Titan A.E.
    An overproduced cartoon without a freeze-dried ounce of wit.
  2. The Banger Sisters
    Sarandon's motherly sexiness is appealing, but it's Hawn, in a warm and deep performance as the hapless but free-spirited Suzette, who walks away with the movie.
  3. Charlotte Gray
    Charlotte Gray is not a subtle movie, but it is an honorable and surprisingly gripping one.
  4. Scarlet Diva
    This is such a dazzlingly self-assured directorial debut that it's hard to know what to praise first.
  5. Remember the Titans
    Bruckheimer's latest is in some crucial respects worse than those earlier blockbuster bids ("Gone in 60 Seconds" and "Coyote Ugly") -- certainly it's more fraudulent -- because unlike those films, which don't claim to be about anything other than thrills and tits, Remember the Titans means to be about race.
  6. Kingdom Come
    So many stars means so little room for character and plot.
  7. Charlie's Angels: Full Throttle
    Can't sustain its manic pitch, or work the McMiracle needed to overcome a script (credited to three writers, though more were no doubt afoot) that's less a story than a sales pitch.
  8. Death Defying Acts
    This won't be remembered as one of the prodigiously talented Armstrong's great films (My Brilliant Career, High Tide, Little Women), but it's still 90 percent better than everything else out there.
  9. The Real Blonde
    Cute and smarmy are nothing new for writer-director Tom DiCillo; what is new is the crushingly unfunny fusion of the two he's hit upon for this film.
  10. Bartleby
    While Parker and co-writer Catherine di Napoli are faithful to Melville’s plotline, they and a fully engaged supporting cast — have made the old boy's characters more quick-witted than any English Lit major would have thought possible.
  11. My First Mister
    Christine Lahti, making her directorial debut, wrings good laughs and strong emotion throughout, largely through the performances.
  12. Brother Bear
    Today's street-smart moviegoing kids don't need to be so shamelessly pandered to.
  13. Bush's Brain
    A tad dry but never boring.
    • 48 Metascore
    • 50 Critic Score
    Glee: The 3D Concert Movie
    It's merely a trivial footnote to the popular franchise - though one that will no doubt satisfy rabid gleeks.
  15. Saw III
    That may not exactly thrill those who admire the Saw films only for their splatter quotient, but all told, this is a more affecting study in grief, guilt and human frailty than "Babel."
    • 48 Metascore
    • 40 Critic Score
    Trudell
    How could a movie about someone with one of the nation's longest FBI files be this dull?
    • 48 Metascore
    • 20 Critic Score
    Spanglish
    Spanglish is Brooks' unqualified kitchen disaster - a desperate, shapeless, overreaching big-screen sitcom of a movie that just wants to be loved. Is that so wrong? In a word, yes.
  18. Lucky Break
    The end result is like cold porridge with only the odd enjoyably chewy lump.
  19. Taxman
    Writer-director Avi Nesher and co-screenwriter Roger Berger -- upon whose real-life investigations the film is based -- deliver on the hard-boiled promise of this low-key thriller with plenty of gritty twists and turns.
  20. Tears of the Sun
    Despite the busy camera work, bombastic score and rapt attention to violence, director Antoine Fuqua (Training Day) can't mask the script's white-savior paternalism.
  21. Sinbad: Legend of the Seven Seas
    Ray Harryhausen's original stop-motion Sinbad classics are a hard act to follow, but Tim Johnson and Patrick Gilmore's update, couched in a gorgeous palette of indigo and dark rose, is a big, beautiful thrill all its own.
    • 48 Metascore
    • 60 Critic Score
    Power and Terror: Noam Chomsky in Our Times
    Plays more like a disjointed radio show with pictures -- The power of Chomsky's intellect and message are poorly served when pigeonholed by the hagiography of some of his supporters.
  23. 50 First Dates
    Oscillating gracelessly between the coarse and the merely saccharine, 50 First Dates, directed with zero visual or comedic flair by Peter Segal (Anger Management, Tommy Boy), showcases Sandler's cuddlier side as it reprises the tepid chemistry that he and Barrymore road-tested in "The Wedding Singer."
  24. The Gatekeeper
    Earnest, shoestring indie that makes use of some sharp location shooting and sympathetic performances to rise above its often awkward staging and writing.
  25. Ju-on: The Grudge
    Occasionally scary, never coherent.
  26. The Oh in Ohio
    Posey and Rudd are the real deal, so it's almost sad when Priscilla and Jack are left hanging in the final act, their issues unresolved. It's as if the filmmakers lost their nerve when it came time to write the kind of intimate, revealing conversation that can make a sex toy unnecessary.
  27. Sugar & Spice
    Any movie offering a Muzak version of the Ramones' "Blitzkrieg Bop"warrants an immediate and unqualified recommendation.
  28. Final
    On the strength of such skillful pacing, and the pair's beautifully modulated performances (Leary's never been so warm or vulnerable), the film builds almost imperceptibly to a climax that's as moving as it is startling.
  29. Scary Movie
    Some of the funny stuff is actually funny, some of it is funny and yucky, but most of it is just stupid.
  30. Rush Hour 2
    The best parts of the movie occur during the outtakes, which are genuinely funny. The movie proper is insufferable.
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