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.
    • 37 Metascore
    • 40 Critic Score
    Domino
    Scott's lack of faith in the script is all too evident -- in most scenes, the lines are so dull, he has to up the ante of his already-infamous attention-deficit style.
  3. Bandits
    Too long, too slow, too self-consciously chatty and too much at the mercy of a slim premise that doesn't wear well under endless repetition.
  4. The Other Side of the Bed
    The dancing is dazzling in director Emilio Martínez-Lázaro's The Other Side of the Bed, but the movie itself is a dud.
  5. Friends and Family
    Coury has made a technically polished first film, but her sense of comic timing and sexual politics is strictly borscht belt.
  6. A Rumor of Angels
    A Rumor of Angels beats its wings furiously, only to sink back into spiritualist goo.
  7. Crazy as Hell
    It could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened. As it is, only LaSalle's sizzling performance makes Crazy more than a by-the-numbers psycho-horror thriller.
  8. Ride
    Despite valiant effort from the performers — especially Usher, who's onscreen for nearly every scene — this three-hander is no joyride.
  9. Double Jeopardy
    All promise and no payoff.
  10. Knuckleball
    Knuckleball mostly fills up its running time by being a twisted, even more ridiculous Home Alone.
  11. In Paris
    Cliché, or experiment with cliché? Really, it’s not worth sticking around to find out, since the action mostly involves the monotonous Romain Duris standing around in his underpants or sitting on the toilet banging on about why love has fled.
  12. Bossa Nova
    This suffocatingly pleasant cross between "Sliding Doors" and "Six Degrees of Separation" is barely rescued by one beautiful scene.
    • 24 Metascore
    • 40 Critic Score
    London
    Perhaps the best compliment that can be paid to Hunter Richards' directorial debut is that it nearly manages to make some of the most irritatingly shallow human beings on Earth seem tragic.
  14. Naqoyqatsi
    Incoherence reigns.
  15. Jeepers Creepers
    Salva falls back on dull, jumbled action and an awkward subplot as he lurches toward a sequel.
    • 47 Metascore
    • 40 Critic Score
    The Open Road
    The Open Road isn’t an unwatchable howler -- instead, writer-director Michael Meredith’s film is merely dull and obvious.
  17. Two Drifters
    The setup and execution of this quietly histrionic tale of the distorting power of thwarted love are so patently ridiculous that the urge to laugh gets in the way.
  18. A Bug's Life
    The most pleasure to be had from this high-tech bore is to compare the Disney world-view evidenced here (the triumph of collectivism) with that of DreamWorks’ own creepy-crawler animation, “Antz” (the triumph of individualism).
  19. The Grudge
    Isn't art, but as date-night fright flicks go, it's effective.
  20. Twist
    A stripling of 24, Tierney has a very young man's immature passion for unrelieved misery, which borders at times on the tedious, at others on the downright comical.
  21. An American Rhapsody
    While Gardos knows what to ask -- and though Kinski and Johansson both easily command attention -- the filmmaker lacks the storytelling sophistication to answer with anything but prettily rendered cliches.
  22. New York Minute
    Reverts to a fire-sale slapstick scenario that includes multiple tumbles into toilets/sewers/ dumpsters; a visit to a Harlem beauty shop that's all homily-spouting mammies and swishy, finger-snapping dandies; and the attempted inducement of a constipated dog's bowel movement.
  23. Without a Paddle
    Burt Reynolds, whose near-vaudevillian comic timing, is refreshing but not enough to carry the picture.
  24. Appleseed
    The film's snazzy new automated animation style falls short: The supposedly human face of our metal-plated robocop's partner -- the inevitable curvy female in a leather jump suit -- is an inexpressive, glossy doll mask, untouched by human hands.
    • tbd Metascore
    • 40 Critic Score
    Carman: The Champion
    Drags through one tough-love moment after another without much energy or originality from its single-monikered star.
    • 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.
  27. Ordinary Sinner
    What really hamstrings Sinner, though, is the hetero narcissism beneath its enlightened posturing.
  28. Pirates of the Caribbean: Dead Man's Chest
    Infernally boring for much of its running time, and then, just as the pulse starts to quicken: To be continued.
  29. The Shipping News
    Spacey is nobody's idea of a goodhearted innocent, and I wonder why nobody has told him he'll blow his career if he keeps trying to pass himself off as Mr. Sensitive. It's time to go back to playing assholes. That's what he's good at, and that's why we love him.
  30. Hollywood Buddha
    The result is at once a woefully overfamiliar bashing of Hollywood superficiality and a seemingly unwitting paean to the self-absorbed enlightenment that passes among industry folk for personal growth.
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