L.A. Weekly's Scores

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:
3750 movie reviews
  1. Where "The Last Exorcism" was sustained by artfully balanced skepticism and a feel for character, Paranormal 2, putatively directed by Tod Williams, can only hold an audience with the understood promise of big jolts around the corner.
  2. In Griggs's eyes, they're all fools. Only old Ronnie, dearly departed though he may be, is worthy of reverence.
    • 42 Metascore
    • 30 Critic Score
    It's basically the stuff of a Bill Maher monologue, knocked down a few reading levels and spun into a low-budg gonzo smorgasbord of brashly tacky styles.
    • 58 Metascore
    • 50 Critic Score
    At odds with its own lofty and base instincts, Stone ultimately channels neither compellingly.
  3. The love that grows between Fish and Poinsettia could have turned treacly in the wrong hands, but director Charles Burnett -- has the direct observational style of the silent masters.
  4. Every gag is smothered by the prevailing tone of labored zaniness and generic, plucky "mischief music" alerting discerning viewers to abandon all hope of laughter.
    • 61 Metascore
    • 40 Critic Score
    At least the formulaic race footage itself is vigorous; the schmaltzy mythmaking script, on the other hand, deserves a one-way trip to the glue factory.
  5. All might be good for a flask-to-the-theater laugh, if not for the unconscionable price gouging.
  6. By the time Leila's brow furrows in concern for the father, the film has absolutely earned its tug at your heart.
    • 28 Metascore
    • 10 Critic Score
    A dreadfully unfunny slog through contemporary dysfunctional family indie cliché.
  7. Has there ever been a more inept trio of big-city caseworkers? Go ahead, Lilith. Unleash the hounds.
    • 76 Metascore
    • 60 Critic Score
    A decent primer on the common and often misunderstood disease - in bold digital colors and scored to Sigur Rós and Björk, no less! - the film suffers from the attitude embodied by its self-congratulatory title.
    • 53 Metascore
    • 60 Critic Score
    Issues of faith, courage, loyalty, sacrifice and betrayal (the last perpetrated by Soren's brother) are all tackled by Snyder with understated maturity, though a series of slightly repetitive aerial skirmishes can't quite match the inventiveness of Feet's buoyant song-and-dance mash-ups.
  8. What follows is one set piece after another in which the women make fools of themselves as the script herds them toward a happy ending of hugs and tears.
    • 36 Metascore
    • 30 Critic Score
    This is a shameless mélange of plot elements from already generic Disney knockoffs.
    • tbd Metascore
    • 40 Critic Score
    Perfunctorily shot and edited, the project hinges only on Rutledge-Taylor's findings, which begin to raise eyebrows once pragmatic activism is thrown out the window in favor of the blame game.
  9. Devil is a Night Gallery reject worth experiencing only to gape at a "spirituality" that falls somewhere between Dostoyevsky and Jack Chick, and to laugh that such daring feats of narrative illogic were undertaken with a straight face.
  10. Abeles sheds little new light on why few parents, teachers, politicians or administrators seem willing to get off the bus.
    • 54 Metascore
    • 50 Critic Score
    The film is too broad and tacky to engage on a universal level, or at least Stateside: The choreography is sloppy and lifeless; the outmoded blend of vintage rock, country and Broadway styles doesn't click; and the characters are such caricatures that it's no wonder the entire cast is overacting.
    • 60 Metascore
    • 50 Critic Score
    Everything that could go wrong does, but director Turner never musters the requisite manic energy that might get her proceedings off the ground.
  11. Smart money says Friedberg and Seltzer never sit through these movies in entirety.
    • 50 Metascore
    • 50 Critic Score
    Though targeted to the same female filmgoers who flocked to the self-realization via food porn of "Julie & Julia," EPL is a comparative downer, letting viewers experience the rush of self-improvement without having to do any of the work. I cried. Mission accomplished?
    • 65 Metascore
    • 30 Critic Score
    Blakeson's feature-length calling card has storyboarded austerity and sadomasochistic promise but in the end lets the game play out in a familiar flurry of double-crossings, two-timings and false deaths, content to only fetishize itself.
  12. Reiner, in very broad strokes, works in issues of poverty, thwarted dreams and family obligation, and almost pulls it off, thanks to Anthony Edwards, Aidan Quinn, Rebecca De Mornay, Penelope Ann Miller and John Mahoney, who impart humor and humanity to thinly sketched characters.
    • 45 Metascore
    • 30 Critic Score
    Meant to take the scrappy and often ingeniously choreographed dance sequences to the next level, the result is stalled between floors: Some sick moves get even sicker; some become distorted and freakishly distracting.
    • 30 Metascore
    • 30 Critic Score
    About as unremarkable as a film about talking animals organized into competing intelligence agencies can be.
  13. Doing The Most Dangerous Game is, for action directors, what covering "Satisfaction" is to bar bands; if you hit most of the notes, it'll do.
    • 20 Metascore
    • 10 Critic Score
    This is one muddled attempt at franchise making: confusing, drab, sluggish. (Ugly, too, if you're forced to see it in 3-D.)
  14. Bracingly inept.
  15. Brad Anderson’s long-running saga of the melty-looking Winslow family and the gangling, interfering Great Dane that should’ve been put to sleep ages ago gets a film treatment.

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