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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  1. Cruel Intentions
    In truth, the only reason this film was made was to allow viewers to ogle pretty young things behaving badly.
  2. Lock, Stock and Two Smoking Barrels
    The tediously convoluted plot involves the foursome’s attempt to pay him back, a labored venture that involves crooks with names like Dog and Plank, a man on fire, some fine cinematography, plenty of gore though no real point.
    • 35 Metascore
    • 60 Critic Score
    200 Cigarettes
    This film may never attain a critical mass of satiric understanding about its milieu or time, but at least its individual moments provide plenty of harmless laughter.
    • 68 Metascore
    • 90 Critic Score
    Office Space
    Mike Judge’s live-action directorial debut not only whittles the high-strung festering soul of ‘90s Orthodox Corporationism down to the quick and quintessential but wraps its veins around his fingers and flosses our teeth.
  5. Jawbreaker
    It’s like watching an annoying young drag queen who flubs the quips she’s stolen, refuses to shut up and thinks attitude is wit.
  6. Blast from the Past
    A flimsy premise to begin with, it’s been punctured beyond repair by an amateur script from Bill Kelly and director Hugh Wilson (The First Wives Club), and by Wilson’s shocking ineptitude with dialogue, framing and pace.
  7. Message in a Bottle
    Even the easily weepy may grow impatient with the snail’s pace of this melancholy romance.
  8. Simply Irresistible
    A betrayal of all things Buffy, not to mention a complete waste of Gellar’s strengths as a young actress. Even the most hardcore of her fans would do well to give it a miss.
  9. Payback
    Helgeland strips the material back to its pulp origins and overlays it with a patina of glib motifs familiar to devotees of Hollywood’s 1970s renaissance.
  10. Gloria
    It’s hard to know what’s more depressing -- a senseless remake or the idea of a once-great director doing such shockingly slack work.
  11. At First Sight
    Even when the film does strike some genuinely heart-tugging notes, they’re invariably shattered by such ham-fisted lines as “You really are blind.” At times, it’s enough to make you wish you were deaf.
    • 19 Metascore
    • 30 Critic Score
    Virus
    FX whiz John Bruno (Terminator 2, True Lies) makes a dubious directorial debut here, juggling monsters that are icky but not scary; an out-of-control Donald Sutherland as the tug’s Ahabesque captain.
  13. The Thin Red Line
    Malick dangles his maddeningly innocent ideas about life and death and man's gift for self-destruction.
  14. Affliction
    Affliction is a work of realist art rich in quotidian detail, a Grimm fairy tale about a community under siege, and a lament for a good man gone bad for nothing.
  15. Hilary and Jackie
    This sensitively directed film is one of those rarest of accomplishments: a graceful work of art about the very creation of art itself.
  16. The Faculty
    A tight blend of self-awareness, humor and fear.
  17. A Civil Action
    A well-chewed gumbo of every lawyer flick you’ve ever seen.
  18. Stepmom
    Less a movie about stepfamilies than a PSA about how cancer makes everyone behave themselves at Christmas.
  19. Patch Adams
    Williams is a great clown, and Oedekirk and Shadyac give him room to really cut loose, and cure the movie. That’s as it should be.
  20. The Prince of Egypt
    Thou shalt not covet any thing that is thy neighbor's. Maybe DreamWorks should stop trying to be Disney.
  21. A Simple Plan
    In one of the sweetest ironies of the entire film year, Sam Raimi has made an A-movie with the soul of a B-movie classic.
  22. Shakespeare in Love
    Good fun, though not more than up-market situation comedy studded with the usual leaps out of period-speak to swipe at contemporary Hollywood.
  23. Rushmore
    A beautifully off-center movie.
    • 64 Metascore
    • 50 Critic Score
    Star Trek: Insurrection
    With its young-vs.-old plot conflicts, its vid-game-reminiscent setups and its prominent positioning of a 12-year-old in the cast, the ninth Star Trek movie explicitly stalks kids, and probably snares neither them nor their parents.
  25. Little Voice
    As mean-spirited toward its working-class characters, especially its women, as it is profoundly unfunny.
  26. Psycho
    Anne Heche is just another neo-noir minx on the make, while Vince Vaughn, grinning and leering as Norman Bates, sinks the movie.
  27. A Bug's Life
    The most pleasure to be had from this high-tech bore is to compare the Disney world-view evidenced here (the triumph of collectivism) with that of DreamWorks’ own creepy-crawler animation, “Antz” (the triumph of individualism).
  28. Very Bad Things
    Pitched as a black comedy, the film thus far seems to have divided audiences between those who think it unaccountably hilarious and those who see it as the latest manifestation of what might be called the new nihilism.
  29. Home Fries
    Written by Vince Gilligan and directed by newcomer Dean Parisot, Home Fries is far too cute and eager to please, but Barrymore and Wilson are charming, and O'Hara is a blast.
  30. Waking Ned Devine
    Writer-director Kirk Jones has the movie roll over, fetch and chase its own tail in order to make you love it.
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