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. Pumpkin
    Off sorority row, the movie goes flat for increasingly long stretches, with the filmmakers displaying so little understanding of or genuine feeling for the mentally challenged that they never advance past stutter-and-stumble humor.
  2. Showtime
    Showtime is better than the fourth "Lethal Weapon," which was pretty bad, but not as good as the original "Lethal Weapon" or the superior "48HRS."
  3. Shottas
    It doesn't help that the level of acting in the film brings nothing but accidental humor to the mix.
  4. Bamboozled
    Spike Lee lost his nerve -- there are moments here, too, when it also seems like he lost his sense.
    • 40 Metascore
    • 40 Critic Score
    Illegal Tender
    We’re too bored to have fun.
  6. Batman & Robin
    There's so much happening in the movie that it feels like nothing is happening at all. Which leaves you free to gaze, slack-jawed, on the true glory of Batman & Robin -- its fabulously color-coded set design.
  7. The Gospel
    There may be an audience out there for any movie about gospel music, regardless of how bad it is, but as filmmaking or as drama, it's hard to imagine anyone singing the praises of this one.
  8. Agent Cody Banks 2: Destination London
    Muniz has a great face and body for physical comedy, but the numerous one-liners shoehorned into the script fall flat, unassisted by Anderson's numbing “street” ad-libs.
  9. 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.
  10. I Am Sam
    By-the-numbers Oscar bait -- but Penn does manage, against such odds, to make us see Sam as a person, not a performance.
  11. Doogal
    Doogal is one of those pickup-and-redub jobs, the original version having been made by European studio Pathé based on a 1960s British children’s show, "The Magic Roundabout." And lacking even the minimal pop-cultural pizzazz of "Hoodwinked," the story, dialogue and animation here really are for-kids-only.
  12. Trust the Man
    Emerges a weakling comedy of manners.
  13. Comedian
    Has moments of real interest, but they require wading through a lot of dead air.
  14. Senseless
    If you can be satisfied with only Wayans' Tourette's syndrome bit, or his perfect timing in the scene where he just kisses a girl and creams his pants, you'll go home happy.
  15. The Mummy Returns
    You can't see the movie for the footage, so thick is it with digital tricks and furious action.
    • 51 Metascore
    • 40 Critic Score
    Doomsday
    I still believe with all my heart that no movie with real car stunts, a tough-chick hero, and a severed head that thunks directly into the camera can be all bad. But this is pushing it.
  17. The Other Brother
    The film needs strong characters and snappy dialogue to carry it through. It has neither.
  18. Wake
    One feels sympathy for the ensemble, which, absent full-bodied characters to inhabit, mug furiously, as if big gestures conjure big themes.
    • 49 Metascore
    • 40 Critic Score
    Turning Green
    Turning Green is, if nothing else, the world’s loneliest teen sex comedy.
  20. Instinct
    John Turtletaub directs Gerald DiPego's silly script, pumping it full of sudden shocks and cheap dramatics where there should be steady tension and character development.
  21. Pearl Harbor
    A Michael Bay movie: bang bang, paper-thin characters, wooden screenplay.
  22. Max
    Suggests that had young Adolf Hitler managed to get his art show, the Holocaust might never have happened. This seems absurd, not to say insensitive.
    • 45 Metascore
    • 40 Critic Score
    Defying Gravity
    An exhaustingly melodramatic yarn...a sorely misguided attempt at tender, heartfelt realism, given a WB-glossy sheen and saddled with a script in which every line is the single most hackneyed thing the character could possibly say.
  24. X-Men: The Last Stand
    Long before the movie's climax, in which Magneto (Ian McKellen) turns smashed-up automobiles into fiery projectiles to be hurled at his enemies, those in the audience will know what it means to behold a flaming hunk of junk.
    • 59 Metascore
    • 40 Critic Score
    Noriko's Dinner Table
    It’s telling that the freshest portions of Noriko’s Dinner Table are the flashbacks to Sono’s previous film.
    • 35 Metascore
    • 40 Critic Score
    Star Wars: The Clone Wars
    The Clone Wars is minor to the point of irrelevance, nothing more than a stylized direct-to-DVD shrug projected onto a big screen while Lucas launches two more TV series filling in prequel blanks better left empty.
  27. Resident Evil: Apocalypse
    This is efficient, soul-numbing moviemaking, diverting enough for blistering September afternoons when what's onscreen is secondary to how high they've cranked the air conditioning.
  28. Blackwoods
    Whatever the cause, everyone involved takes this blend of slick Verhoeven sleaze and Deliverance-brand musk way too seriously.
  29. Gloomy Sunday
    There's a whiff of exploitation about any movie that claims the Holocaust as a “backdrop,” and Rolf Schübel’s treacly tale of three men lovesick for the same blue-eyed beauty fairly reeks of it.
  30. Blade: Trinity
    By and large, the jokes fall flat, and the entire film often seems as fatigued as its star.
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