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 8.6 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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    • 81 Metascore
    • 80 Critic Score
    Buena Vista Social Club
    Buena Vista avoids literal politics, as if all that is beside this film's point.
  2. Notting Hill
    The result is two films: a big, dreary star vehicle that sags whenever its leads spend quality time together, and a mettlesome British caper whose nutsosecondary characters walk away with the movie.
  3. The Thirteenth Floor
    Offers no perverse philosophical conundrums and no eye-popping visuals. It's a dull, lifeless bore.
    • 51 Metascore
    • 60 Critic Score
    Star Wars: Episode I - The Phantom Menace
    I warn you, I'm gonna continue whining about the movie. Just keep in mind that I liked it.
  5. A Midsummer Night's Dream
    The set design is gung-ho Hallmark (Tinkerbell lights, that sort of thing) with a strong whiff of Fellini (the fairy glade looks like a pre-Raphaelite red-light district).
  6. Tea with Mussolini
    This gets my vote as director Franco Zeffirelli’s finest film. Certainly, it’s his most personal.
  7. The Mummy
    A near miss overall, but enjoyable in its littler particulars.
    • 31 Metascore
    • 10 Critic Score
    Idle Hands
    Many in the youthful target audience won’t be able to identify the "homages," and the script is far too lazy for seasoned horror fans to stomach.
  9. Entrapment
    The only decent actors in Entrapment are high-tech tools of global robbery.
  10. The Winslow Boy
    What's left is "Masterpiece Theatre," a very clean, straightforward adaptation of a beautifully constructed play, faithful to a dead man's classical virtues -- harmony, proportion, balance -- if not to the director's own, more iconoclastic ones.
  11. eXistenZ
    eXistenZ gives us Cronenberg at his wittiest, and Leigh at her most vulnerable and fascinating.
  12. Election
    Election is finally, necessarily, as much about sex as it is about politics -- wanting it, getting it, losing it.
    • 19 Metascore
    • 0 Critic Score
    Lost & Found
    Cloying, obnoxious, unfunny, evil, shallow, schadenfreude-wielding, dumb-fuck-fratboy-wants-a-blowjob, sitcom-directed piece of elbow-in-the-rib-till-you-puke-blood, just-connect-the-dots-and-we’ll-all-make-a-lot-of-money-and-nobody-gets-hurt...
  14. SLC Punk!
    Ultimately a wiser and truer film than its crass and cartoony beginnings would have us believe.
  15. Life
    Demme (Monument Ave.) brings a sure hand with pace and structure to the soft-at-heart script by Robert Ramsey and Matthew Stone, allowing Murphy, Lawrence and company to sit back and focus on the job at hand -- making us laugh.
  16. Shuang long hui
    As usual, the final fight-scene extravaganza is outstanding, but it’s hardly worth the dreary hour and a half that precedes it.
  17. Go
    Entertaining and slight, topical and cannily familiar.
  18. Metroland
    Replete with false dilemmas, assisted by a dreadfully stagy screenplay and directed with all the animation of a tableau vivant, Metroland is such a draggy bore.
    • L.A. Weekly
  19. Cookie's Fortune
    Not even Altman's loose-limbed shooting style can redeem Cookie’s Fortune, a bafflingly pointless farce that belongs more properly in the vaudeville halls than on the director's sporadically lustrous résumé.
  20. 10 Things I Hate About You
    It goes straight to the top of the class. O can there be such a thing as too keen a guilty pleasure, particularly when the whole genre is knowingly pitched to audiences as a trashophile's delight? No, there cannot.
  21. The Matrix
    Bill Pope's swooping, noir-inflected cinematography is wonderfully complemented by Owen Paterson's inventive production design, a great soundtrack and the best fight choreography this side of Hong Kong. And even if this isn't "Blade Runner," it is very cool shit.
  22. A Walk on the Moon
    Paula Gray wrote the script (it was her UCLA senior thesis), and if there are gooey spots, there's also nicely turned, lived-in dialogue and a gentle affection for all her characters.
  23. Ravenous
    Although the hinges connecting the film's elements -- slapstick, political satire, thriller, gross-out shots -- sometimes squeak loudly, they hold the movie together nicely.
    • 29 Metascore
    • 40 Critic Score
    The King and I
    The tale has been tidied, buffed, waxed and polished into a harmless but relatively boring adventure.
  25. The Deep End of the Ocean
    It’s the sort of performance that announces itself with the subtlety of a lit-up highway construction sign. Caution: Actress at Work.
  26. Trekkies
    Roger Nygards’ sweet, gently funny documentary about the wild and woolly fans of all things Star Trek doesn’t really reveal much about the original landmark series and its various spinoffs, nor does it ever really get to the heart of the shows’ enduring appeal.
    • 21 Metascore
    • 20 Critic Score
    Wing Commander: Space Will Never Be the Same
    An excruciating no-brainer blend of “Starship Troopers” and “Top Gun,” without the former’s guilty-pleasure concoction of gory F/X and dark humor or Tom Cruise’s megawatt smile.
  28. Baby Geniuses
    There are ticklish moments, but no real laughs.
  29. The Rage: Carrie 2
    A truly dreadful sequel.
  30. Analyze This
    Watching Ramis struggle with his two stars is like watching someone try to juggle lead weights.
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