L.A. Weekly's Scores

Select another publication »
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
view
per page
    • 59 Metascore
    • 40 Critic Score
    American Pimp
    Credit the Hugheses for plunging headfirst into a deeply taboo topic, but they're doing it for the wrong reasons and thus playing into the worst of public stereotypes, namely that all black men are hustlers.
  2. Scary Movie
    Some of the funny stuff is actually funny, some of it is funny and yucky, but most of it is just stupid.
  3. Anything Else
    Meant as a return to the form and substance of Allen's far superior early work satirizing the equivocations and betrayals with which we ruin our lives. In fact, the movie only comes alive as a hostile critique of psychoanalysis.
  4. The Young Black Stallion
    IMAX magnifies everything, including flaws, which are legion in this listless, awkward prequel to the 1979 movie based on the novel by Walter and Steven Farley.
  5. Biker Boyz
    Orlando Jones, buff and commanding, steals the film as Soul Train, a lawyer-biker, while Lisa Bonet, a sexy, enigmatic earth mother, is stranded in a movie that has no idea what to do with her.
  6. See No Evil
    The killer in this nasty yet taut slice-and-dice 'em horror flick is a collector of eyeballs, which he removes from his screaming victims with an efficient single swooping motion of his talon-like index finger. If that image makes you grin not cringe, then this movie's for you.
  7. A Good Woman
    Stephen Campbell Moore is miserably out of his depth as the playboy trying to tempt Scarlett, leaving poor Tom Wilkinson to sound a lone note of sophisticated intelligence.
  8. The Hard Word
    The Hard Word’s greatest betrayal, however, is of its cast, of Pearce (hamming it up as the charismatic antihero) and Griffiths (as sexy as ever, but more or less abandoned by the movie midway through), who give it their all but get very little in return.
  9. Shark Tale
    Falls prey to the lazy assumption that a parade of whiz-bang CGI will cover for the absence of a muscular story.
  10. Training Day
    One of those movie equivalents of a freeway pileup -- it's a mess, at once insistently watchable and a total dead end.
  11. Big Man Japan
    Between such shots of inspiration, Matsumoto’s mock-doc framework seems a lazy stock device, interviews playing more dead than deadpan and failing to exceed an over-familiar comic-pathetic attitude toward the lives of functionaries.
  12. Reconstruction
    Eventually it all starts to feel like an extended European perfume ad: pretty but eye-rollingly pretentious.
  13. Cowboys & Angels
    For all the violence and breaking-up-to-make-up that go on, there's never really a sense of risk or exploration, and the film's pulse never rises above faint.
  14. All the Little Animals
    Three leads do their best with simplistic characters.
  15. Wind Chill
    Jacobs and his writers are notably more interested in creepy atmosphere -- and in contemplating the order of the universe -- than in jump-in-your-seat jolts. But well before day breaks, it's the movie’s plot (which would have made for an outstanding Outer Limits episode) that has come to seem stuck in an endless loop.
  16. Go Further
    Without the actor’s name and amiably demented grin, Go Further would be an unspeakably tedious and preachy travelogue. With them, this insupportably long home movie, unremarkably directed by Ron Mann, is merely dull.
  17. My Wife Is an Actress
    Calculated to titillate middlebrow audiences on both sides of la Manche.
  18. Vaya
    The movie lays on the melodrama too thick.
  19. People I Know
    As a thriller, People I Know -- which has languished unreleased since 2001 -- is barely plausible. As a critique of the meshing of power politics between East and West coasts, the movie is more smart-alecky than wise.
    • 40 Metascore
    • 40 Critic Score
    Dance Flick
    The gags themselves only marginally work when they stick to silly non sequitur; the random movie references are forced and flat, and the takeoffs of "Dreamgirls" and "Fame" songs would make "Weird Al" groan.
    • 48 Metascore
    • 40 Critic Score
    Trudell
    How could a movie about someone with one of the nation's longest FBI files be this dull?
  22. Hollywood Homicide
    Nothing, in fact, really fits together, most notably the partnership of Ford and Hartnett: Looking weathered yet professional, Ford carries what he can, but pretty and sullen Hartnett barely comes to life, leaving his partner stranded, and straining.
  23. Return to Me
    Where else could this flabby excuse for a women's movie go? Straight to the Oxygen Channel, if it's lucky.
  24. Evelyn
    The movie has a script (by Paul Pender) made of wood, and it's relentlessly folksy, a procession of stagy set pieces stacked with binary oppositions.
    • 38 Metascore
    • 40 Critic Score
    The Last Time
    The Last Time seems even more hapless than the Midwestern rube it's skewering.
  26. Ray
    For too many minutes of its two and a half hours, Ray flips through its cinematic pages with a breathless and-then-this-happened urgency, offering up little in the way of personality (or truth) beyond Jamie Foxx's strong performance.
  27. L.A. Twister
    The film offers no new insights into its people or into the dynamics of the Hollywood machine -- the whole affair, played for low-intensity laughs, is numbingly familiar.
  28. The Hidden Half
    Ultimately, The Hidden Half is shopworn feminist soap opera, enacted in a political echo chamber.
    • 37 Metascore
    • 40 Critic Score
    The Last Legion
    Second-rate sword-and-sorcery saga.
  30. The Lightkeepers
    Danner, the film's sole strength, does what she can with the material, but it's not enough to offset writer-director Daniel Adams' cliché-ridden script and leaden direction, or the excruciating hamfest that is Richard Dreyfuss' lead performance.
Page:

Top Trailers

See all »
See all trailers »