For 3,750 reviews, this publication has graded:
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46% higher than the average critic
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3% same as the average critic
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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: | A Bread Factory Part Two: Walk With Me a While | |
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| Lowest review score: | Deuces Wild |
Score distribution:
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Positive: 1,540 out of 3750
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Mixed: 1,542 out of 3750
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Negative: 668 out of 3750
3750
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Ernest Hardy
As Bomb snakes its way toward tragedy, it grates rather than entices. The actors come off more as poseurs than as characters, and the film's political and cultural insights are superficial and old hat.- L.A. Weekly
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Reviewed by
Ella Taylor
A morally complex and emotionally satisfying drama about the vagaries of Catholic response to the Third Reich.- L.A. Weekly
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Reviewed by
Scott Foundas
The movie is affectionate without exactly being infectious, and Browne, who begins his film with the Michael Moore–esque revelation that Americans bowl in greater numbers than they vote, disappoints by not devoting more attention to bowling in its amateur incarnations.- L.A. Weekly
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Reviewed by
Chuck Wilson
In her charming debut feature, writer-director Alice Wu works hard to sidestep both pathos and antic comedy, an admirable ambition that makes for a relentlessly low-key film that nonetheless builds to a third act rich in surprising turns of character.- L.A. Weekly
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Ella Taylor
The story is as wonderful in the showing as it is in the telling, by an African griot (oral historian) who stirs our tragicomic passage from birth to death, into a simple clay pot.- L.A. Weekly
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Reviewed by
Chuck Wilson
This peculiar little comedy, shot on digital video, gets points for editorial pizzazz, but earns a big zero for content.- L.A. Weekly
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Reviewed by
Scott Foundas
The strengths of Dominion, however, have been little diminished by its long shelf life and, in fact, may have grown stronger with age.- L.A. Weekly
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Ella Taylor
Boasts one of the most entertaining and bitterly astute screenplays I've had the pleasure of listening to in a while, with its lengthening spirals of deceit, mendacity and one-upmanship, and its elegant linguistic dances around difficult truths.- L.A. Weekly
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- Critic Score
It tries too hard for sincerity, when it's actually more sincere when cynical. Filmed in 17 days with hand-held cameras that give it a home-movie feel, the movie takes blue-collar pride in its own hopelessness.- L.A. Weekly
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Reviewed by
Ella Taylor
A serious work of analysis, rooting the resistance to reform in Third World government corruption and Western profiteering.- L.A. Weekly
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Scott Foundas
Lucas is a major figure, and Revenge of the Sith may be some kind of historic achievement -- the first movie in which it is fully impossible to tell where flesh ends and digital paint begins.- L.A. Weekly
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Ella Taylor
Though it includes plenty of footage from those terrible days, this wonderful, devastating documentary is as much Dallaire's story as it is the story of a whole continent abandoned by a cynical world.- L.A. Weekly
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Reviewed by
Robert Abele
A tiring exercise in time-biding sadism (versus wit or suspense), inflated with shock editing, noisy effects and an angry score, like a thriller with road rage.- L.A. Weekly
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Reviewed by
Ella Taylor
My own little critic-in-training laughed her head off. Lacks taste, must try harder.- L.A. Weekly
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Reviewed by
Ella Taylor
This is a gay men's movie whose primary function is to doll Fonda up like a drag queen and let her rip.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Ella Taylor
The worthy text of Mad Hot Ballroom is undercut by the real source of its energy, the heat of competition and the pure joy of winning.- L.A. Weekly
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Reviewed by
Scott Foundas
Honoré never gets beneath these characters' sunburned skins, and well before the end, the film tips irretrievably over into the realm of absurdity.- L.A. Weekly
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Ella Taylor
For all its hectic comings and goings, though, Kings & Queen is superbly controlled, gracefully shot and edited, and, for its entire 150 minutes, as engrossing as its meanings are opaque.- L.A. Weekly
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Reviewed by
Jon Strickland
Writer-director Darren Lemke's likable thriller shows surprising smarts for a low-budget debut, cribbing from all the right sources.- L.A. Weekly
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Kim Morgan
A tiresome, hammy and ultimately annoying portrait of the artist as a young drunk.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Scott Foundas
In its depiction of a fleeting, but nevertheless factual, peace in the Middle East, Ridley Scott's Kingdom of Heaven may seem a more quixotic Hollywood fantasy than all six Star Wars movies lumped together.- L.A. Weekly
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Reviewed by
Jon Strickland
Davis, who did some writing for a TV series and acted in a couple of B-thrillers, is notably solid inhabiting Riley's conflicted machismo, supported by Diane Tayler's fine turn as a bottom-rung manager.- L.A. Weekly
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Reviewed by
Chuck Wilson
While it isn't surprising that improv gods Short and fellow SNL vet Jan Hooks, as Glick's wife, Dixie, are brilliant, who knew that perennial onscreen good girl Elizabeth Perkins, playing here a has-been bitch-diva, could be so brittle and sexy?- L.A. Weekly
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Reviewed by
Ella Taylor
A warped, but beautiful and strangely hopeful, coming-of-age tale.- L.A. Weekly
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Reviewed by
Jon Strickland
But by film's end, no one is looking good. If Wranovics is somewhat too noncommittal in his presentation, he still shows a great eye for detail.- L.A. Weekly
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Reviewed by
Ella Taylor
Half a notch above a vanity project, this chipper little number by French director Steve Suissa offers a deadly combination of shamelessness, narcissism and schoolboy comedy.- L.A. Weekly
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Reviewed by
Ella Taylor
Bier's portrayal of the brothers' interplay holds few surprises, and the exploitation of the war between East and West is vulgar, contrived and borderline racist.- L.A. Weekly
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Reviewed by
Kim Morgan
Ledes shows promise, but truly, this would have been better left to Todd Haynes.- L.A. Weekly
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