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. Evan Almighty
    What makes the film transcend its limitations is Carell, whose square, "Father Knows Best" demeanor belies a supreme comic self-confidence and whose implacability in the face of the movie's CGI-intensive animal antics can be marvelous to behold.
  2. Waist Deep
    Gibson and Good deliver such emotionally honest performances that we wish them a happy ending, no matter how many movie clichés have to be trotted out to get there.
  3. Bad Company
    Deft, funny and intelligently scary.
  4. The Crew
    There are moments that suggest the comedy that could have been.
  5. Love Don't Cost a Thing
    Remains short on charm, purpose or laughs.
  6. Showboy
    The film takes on unexpected weight when Christian cops to his intense personal loneliness. That's not the stuff of high comedy, but it's brave and, in these days of rah-rah, everyone's-in-love gay media, rather refreshing.
  7. I Now Pronounce You Chuck & Larry
    If nothing else, Chuck & Larry should open up a whole new career path for the ineffably funny, unselfconsciously buck-naked Ving Rhames as an übermacho firefighter who’s been sitting on a little secret of his own.
  8. The United States of Leland
    Only Chris Klein, as the lovesick live-in boyfriend of Becky's sister, is given anything like an active emotional arc to play, and he runs with it so beautifully that he steals the movie.
  9. All the King's Men
    I'd take almost any colorful-character shtick over the gloomy gravitas that settles over All the King's Men early on and never leaves.
    • 37 Metascore
    • 30 Critic Score
    Haven
    As a director, newcomer Frank E. Flowers shows a flair for visuals and characters, but as a writer, he needs work. The Tarantinoesque nonlinear structure he employs would be risky even in Quentin's hands, and is downright self-sabotaging here.
    • 37 Metascore
    • 40 Critic Score
    War, Inc.
    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.
  12. Sex: The Annabel Chong Story
    Now that's exploitation.
  13. Beyond Vanilla
    While moderately entertaining, the film also captures another old dynamic: The “ew” factor dissolves into the yawn factor with surprising quickness.
  14. Analyze That
    It's clever, vulgar and fully committed to making us howl with laughter. If only all sequels were this much fun.
  15. When Do We Eat?
    A debut film that's more well-intentioned than funny.
    • 37 Metascore
    • 40 Critic Score
    Garfield: A Tail of Two Kitties
    Murray's gift for imperious indifference is the only reason to sit through a second for-kids-only movie about Garfield the lasagna-loving cat.
  17. The Kid & I
    Gores certainly seems to be enjoying himself, and diplomacy and plain old good taste prevent one from saying much of anything about his screen performance. Arnold doesn't merit such kindness, nor does producer and director Penelope Spheeris, whose work barely rates above the level of rote competence.
  18. Honey
    Hinges almost completely on the taut body and delectable beauty of Jessica Alba, but is otherwise so riddled with limp clichés that it doesn't even qualify as a guilty pleasure.
  19. Cold Creek Manor
    Cold Creek Manor's prime reason for being seems to be a set piece involving poisonous snakes, directed by Figgis with a drunken gusto the rest of the film could use, and as a comeback vehicle for Stone, who tries hard at motherly warmth, but can't quite wash the Catherine Tramell out of her hair.
  20. Last Party 2000
    Those seeking anything resembling a real discussion of the issues had best seek elsewhere.
  21. The Country Bears
    Kids will probably enjoy the sight of huge, bumbling teddy bears -- Parents will exit wondering why this piece of unnecessary cross-promotion wasn't released straight to video.
  22. The Story of Us
    The wet blanket of undigested autobiography lies all over Rob Reiner's excruciating new opus about a marriage winding down into terminal atrophy.
  23. Crush
    What’s striking about John McKay's feature debut is how much contempt toward his female characters the writer-director manages to pack into 115 minutes.
  24. Ted Bundy
    Has the crisp pace and bright-eyed facetious tone of a blackout-comedy sex farce.
  25. You Got Served
    Seems stuck in fad mode, a showcase in search of a movie.
  26. Three to Tango
    Placing gay characters front and center in big Hollywood movies is supposed to inspire cheers, not the case of the creeps that comes with Three To Tango.
  27. Poolhall Junkies
    Callahan's feature debut is a one-way ticket to Palookaville.
    • 36 Metascore
    • 50 Critic Score
    Steal This Movie
    Throws in a lot of detail but withholds the real secrets of Abbie Hoffman. His life was no fairy tale. Why should it be filmed to end like one?
  29. Friends and Family
    Coury has made a technically polished first film, but her sense of comic timing and sexual politics is strictly borscht belt.
    • 36 Metascore
    • 30 Critic Score
    The Adventures of Rocky & Bullwinkle
    These are pitch-perfect impersonations rather than performances.
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