L.A. Weekly's Scores

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:
3750 movie reviews
  1. Newcomer Short has charisma, charm and athleticism to burn, but it's mostly for naught in a movie that spends two tedious hours pulling out every stop in the gold-hearted-kid-from-the-wrong-side-of-the-tracks- meets-gold-hearted-girl-who-values-true-love-above-privilege playbook.
  2. Doesn't live up to its genre-crossing, parodic ambitions.
    • 43 Metascore
    • 40 Critic Score
    Has its moments.
  3. The convoluted plot unfolds mechanically and with little atmosphere as if sex and death in the Oval Office would provide enough gravity on its own. That it doesn't is a sign of mediocre filmmaking as well as a measure of just how cynical the times have become.
  4. Overlong, hard look at the perils of tampering with Creation.
    • 37 Metascore
    • 40 Critic Score
    Antiwar, anti-Bush, anti-corporate, yet neither as progressive nor half as funny as the "Harold and Kumar" sequel, War, Inc. squanders some top-tier talent (Marisa Tomei, Sir Ben Kingsley) as well as our patience.
  5. And whenever the film shifts from spunky "let's put on a show" fun to overly earnest drama, it slows to a crawl, with mawkish performances that fail to rise above the soggy material.
  6. The movie is crudely jokey and, finally, a wimpy betrayal of its source.
  7. Chabria lacks the effervescent touch, in both his clichéd, logic-challenged writing and his leaden direction, to make you care. Though the film is crammed with music -- the soundtrack is stellar -- the production numbers fall completely flat, leaving you to pine for the over-caffeinated touch of Baz Luhrmann.
  8. Struggles to achieve a giddy eccentricity that never fully emerges.
  9. The opening moments of -- are some of the funniest --the rest of the movie beats you over the head with jokes, and though funny in parts, it's never this smart again.
  10. This thoroughly unhip, unfunny political comedy is the kind of movie TV actors like Ray Romano make on hiatus from their successful series, and movie actors like Gene Hackman and Marcia Gay Harden make on hiatus from taking their careers seriously.
  11. The lack of cohesion and conviction is disconcerting, and it allows the movie to veer dangerously close to exploitation. Its subjects -- and its viewers -- deserve more.
  12. The sentimental novelty of watching two childhood antiheroes have at it dissipates once you realize the lugubrious lengths to which the screenplay must go in order to make that happen.
  13. Schaeffer fails to develop the relationship beyond clichéd signpost events.
    • 49 Metascore
    • 40 Critic Score
    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.
  14. If you crave a lively and funny trek through the farcical possibilities of unchecked dimwit power, Judge is still your guy. Just go rent "Beavis and Butt-Head Do America" instead.
  15. The results are far from perfect: For one thing, Lipsky is so far from being a fluid visual storyteller that the garishly lit, appallingly composed Flannel Pajamas makes another two-hander talkfest Lipsky famously distributed -- "My Dinner With Andre" -- seem like "Lawrence of Arabia" by comparison.
  16. The rather sad performances boast more clams than a Pismo beach party.
  17. But the corker-to-groaner ratio heavily favors the latter as the bagel-and-dreidel jokes begin to lose their spark, as does the story
    • 34 Metascore
    • 40 Critic Score
    Flesh-eating fish notwithstanding, Peter and Michael Spierig's low-budget schlock-horror parody brings precious little new to the undead genre.
  18. It's all cliffhangers, with no downtime in between.
    • 36 Metascore
    • 40 Critic Score
    It's a sad state of affairs when the best news about Righteous Kill is that it isn't awful.
  19. A little of this goes a long way.
  20. Undiscovered is beaten on all counts by TV’s "Entourage" and "Unscripted" in its portrayal of the aspirational lifestyle and its end-of-the-rainbow spoils.
    • tbd Metascore
    • 40 Critic Score
    It's typical poor-schnook-in-over-his-head stuff, spiked with some nervy, Pi-esque montages of eyes, horses and racing forms that illustrate Michael's fraying nerves (and distract us from the flatness of the other scenes).
  21. Could have used two rangier lead players than Stiller (doing his patented aggrieved-yuppie shtick) and Barrymore (who's so perky you want to slap her); the 81-year-old Essell, however, is a wicked pleasure throughout.
  22. The movie charts a journey from belief to despair with occasional touches of humor, but by the end I was so deadened by its minimalist style and method, I could barely summon the energy to ask why.
  23. Harris tries his best to make something more out of his one-dimensional white-knight character, while Gooding plays his vaudeville Rainman routine to the rafters.
    • 53 Metascore
    • 40 Critic Score
    Enough gunfights, vicious beatings, and pissing matches for five films.

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