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. Crash
    Not just one of the best Hollywood movies about race, but, along with "Collateral," one of the finest portrayals of contemporary Los Angeles life period.
  2. The Hitchhiker's Guide to the Galaxy
    This very funny, very British movie -- directed by newcomer Garth Jennings -- has sci-fi effects that are impressive yet appropriately cheesy.
  3. xXx: State of the Union
    What's fun is that the road to that climactic Capitol showdown is paved with one ridiculous and relentlessly edited set piece after another.
  4. 3-Iron
    As repellent and repellently opportunistic a piece of work as the various shock-horror provocations (The Isle, The Coast Guard) that helped to launch this worrisome career (Kim Ki-Duk).
  5. Another Road Home
    Marvelously conciliatory film.
  6. À Tout de Suite (Right Now)
    Jacquot seems unwilling to either shape his story or offer commentary, a standard New Wave strategy that, in this instance, makes for a tale as vague as it is nouvelle.
  7. Funny Ha Ha
    Bujalski takes a sledgehammer to the carefully ordered surfaces and dramatic conventions of narrative cinema, favoring instead an unpredictability in which the crosscurrents of quotidian life collide on the screen in a series of brilliantly alive patterns.
    • 77 Metascore
    • 80 Critic Score
    The Holy Girl
    It's a style at once ravishing and mysterious, austere and intimate, carrying with it the suggestion that even cinema may be powerless to invade the most clandestine antechambers of human behavior.
  9. Ladies in Lavender.
    Ladies in Lavender oscillates between scenes so relentlessly nice they make you want to scream and others - particularly those depicting the crush Dench develops on her new housemate - creepier than anything in "The Amityville Horror."
  10. The Painting
    The Painting is a sleekly crafted quilt of moldy racial insight and feel-good kumbaya-isms set against the backdrop of the civil rights era. The acting is competent, TV-movie-of-the-week quality (network, not cable), while every single character is a type you've seen a million times before.
  11. Stalin's Wife
    Shakily cobbled together from stock footage and new interviews with authors and family, Stalin’s Wife is nearly barbarous in its denial of aesthetic pleasure. The whole thing looks like a late-night-TV infomercial.
  12. The Tunnel
    Director Roland Suso Richter gives a raw, frank but sophisticated account of the excruciating logistics of this great escape, and the appalling, inspiring blend of betrayal and courage that attended the group's herculean efforts.
  13. The Interpreter
    When it comes to the United Nations, though, the movie turns to Jell-O. Whether Pollack was softened up by his meetings with U.N. brass (all the way up to Kofi Annan), or by his own gentlemanly Midwestern liberalism, he is alarmingly circumspect about that august body.
  14. A Lot Like Love
    Peet is triumphant as the beguiling object of desire with wounded-bird eyes and devilish smile -- sexy and tart, then, in the space of a breath, totally, tenderly tragic. Like Oliver, we'd happily follow her anywhere.
  15. King's Ransom
    Remarkably unfunny.
  16. Double Dare
    Zoe is lively and an astonishing athlete, but it's Jeannie who gives this film resonance.
  17. Enron: The Smartest Guys in the Room
    Fiercely intelligent, terrifying and absurdly funny documentary.
  18. The Game of Their Lives
    The final match stirs briefly, but when it's over, the movie's energy crashes right back down again. Disappointing.
  19. Madison
    If not for the race sequences and the intriguing presence of Caviezel, who made this film before "The Passion of the Christ" and who one hopes will take on even more roles befitting his peculiar sad-eyed charisma, the film would amount to a well-intentioned snooze.
  20. The Man Who Copied
    An enjoyable ride.
  21. One Missed Call
    It's a prolonged, maddening, predictable -- yet curiously pleasurable -- descent into incomprehensibility.
    • tbd Metascore
    • 40 Critic Score
    Erosion
    For those turned on by the thought of such “sexually charged” scenes as men describing techniques for picking locks to women while drawing on their bodies with mascara pencils, Erosion may provide some pleasure. Everyone else though, will be worn down by the film’s tedious hand-wringing about infidelity and bursts of unerotic sex.
  23. The Amityville Horror
    Much meaner remake, starring Ryan Reynolds (quite good).
  24. House of D
    David Duchovny’s debut as a writer-director puts little flesh on the bones of the roguish tricks he got up to as a lad in Greenwich Village in the 1970s.
  25. Down and Derby
    It's when adults with whitewashed notions of childhood get hold of a camera that kiddie fare - like this uninspired effort from writer-director Eric Hendershoot - goes limp.
  26. It's All Gone Pete Tong
    The movie catches us up so profoundly in Frankie's self-destructive spiral (and gradual rehab), it's as though we’re seeing it all for the first time. I'd like to say that's because the story is true, only it isn't.
  27. Torremolinos 73
    Pablo Berger's subtle satire Torremolinos 73 is almost there. Almost.
    • 62 Metascore
    • 40 Critic Score
    The Year of the Yao
    This glorified infomercial glosses over the underlying tension of a young man's introduction into a society whose materialistic, capitalist tendencies are diametrically opposed to his country's values.
  29. Palindromes
    With the possible exception of Neil LaBute, I can't think of a filmmaker who can divide an audience as efficiently as Solondz.
  30. Sahara
    This perfectly distracting, ultimately unsatisfying film feels like a James Bond flick in which the stand-in got the lead.
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