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. God's Army
    A fine cast of unknowns in a story of faith -- lost, found and continually challenged -- that neither romanticizes nor condescends to its milieu.
  2. Fakers
    If you can't count on a British con movie to deliver at least a few moments of entertaining color, well, then what can you count on? Director Richard Janes' slight and wobbly Fakers comes close to shattering one's faith in a just and orderly universe.
  3. Blade: Trinity
    By and large, the jokes fall flat, and the entire film often seems as fatigued as its star.
    • 38 Metascore
    • 40 Critic Score
    Kids in America
    A trite teen comedy burdened with lofty aspirations of rallying adolescent audiences to political action.
    • 38 Metascore
    • 30 Critic Score
    The Return
    The Return gets this year's award for most misleading poster, with its image of an empty-eyed, gray-skinned zombie/ghost that appears nowhere in the movie. You might, however, feel a little empty-eyed and zombie-like yourself after emerging from this languid story.
  6. Little Nicky
    Juvenile, sloppy and frequently, idiotically hilarious.
  7. The Specials
    An easygoing work of unforced humor built on gags that should be stupid, but are ultimately too ridiculous to resist.
  8. Random Hearts
    Has spread itself so thin between plot, subplots and great scads of floppy pop-psych, it has nothing else to do but lie down and die of exhaustion.
  9. Looking for an Echo
    Assante, restrained and thoughtful, reveals Vinnie's midlife bewilderment as much as his bred-in machismo. His performance is too delicate, though, to stand up to the rigidly formulaic schemes
  10. Final Destination 2
    The cast of the original looks Shakespearean in comparison to Cook and her hapless cohorts, but to be fair, those first dead ducks had a real script to explore, which this bunch does not.
  11. Gothika
    Given her (Halle Berry) biggest part since winning Oscar, she responds with a zeal that's more than the movie deserves.
  12. The Adventures of Sharkboy and Lavagirl 3-D
    Slight but immensely enjoyable charmer.
  13. Reindeer Games
    A cleverly plotted, cleanly crafted matinee item -- pure entertainment on a romping continuum with Frankenheimer's "Ronin."
  14. Amelia
    Drawn from two Earhart bios, Mira Nair’s dull hagiography comes in about 111 minutes too long.
  15. Dirty
    Like the best pulp, though, it gets its hooks into you faster than you can start to wonder why you should possibly care about what happens to any of its despicable characters, and, before you know it, you’ve been pulled deep into its Dantean vision.
    • 37 Metascore
    • 40 Critic Score
    Underdog
    Even the promising team of Peter Dinklage’s mad scientist Simon Barsinister and Patrick Warburton’s henchman Cad turns out to be a bust.
  17. Knock Off
    A stunningly lethargic, uninvolving piece of crap.
  18. A Hole in One
    Ledes shows promise, but truly, this would have been better left to Todd Haynes.
    • 37 Metascore
    • 40 Critic Score
    The Last Legion
    Second-rate sword-and-sorcery saga.
    • 37 Metascore
    • 40 Critic Score
    Annapolis
    Annapolis succeeds only in the difficult mission of making charismatic actors like James Franco and Tyrese Gibson seem bland and surprisingly unsexy.
    • 37 Metascore
    • 30 Critic Score
    Another Gay Movie
    Making a gay film only slightly less intolerable than its straight counterparts isn't much to be proud of.
  22. Anaconda
    Quite unintentionally, director Luis Llosa and screenwriters Hans Bauer, Jim Cash and Jack Epps Jr. have crafted a howler; Anaconda, meant to be a nail-biting thriller, is a laugh-out-loud comedy.
  23. Freddy vs. Jason
    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.
  24. What's the Worst That Could Happen?
    Comes off as a desperate attempt to breathe life into dull proceedings.
  25. Crocodile Dundee in Los Angeles
    Despite the lack of zing in Hogan's frequently self-deprecating zingers, director Simon Wincer repeatedly lets scenes dribble on until an awkward silence engulfs everyone onscreen.
    • 37 Metascore
    • 50 Critic Score
    Dieu est grand, je suis toute petite
    Tatou evinces that innate self-possession in which Frenchwomen specialize, and lets it fly here. That, in turn, keeps this flawed movie aloft.
    • 37 Metascore
    • 40 Critic Score
    Confessions of a Burning Man
    The film reduces a complex social environment to a trifling spectacle of fakery, peopled by faux-hemians who offer up trivial confessions as if they're earth-shattering.
  28. Riding the Bullet
    Writer-director Mick Garris has a real feeling for the horror master's melancholy worldview - love is loss - but he's too reverent toward the original story, the ending of which, both on the page and, now, on the screen, lands with an overly elegiac thud.
    • 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.
  30. xXx: State of the Union
    What's fun is that the road to that climactic Capitol showdown is paved with one ridiculous and relentlessly edited set piece after another.
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