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. One of the best part 3's ever made, and Rodriguez's knack for concocting the most imaginatively deranged children's entertainments since "Willy Wonka and the Chocolate Factory" remains unassailed.
  2. With her bulging blue eyes, elaborately braided hair and slinky spandex costumes, she's an indelible icon of action-heroine chic, and, quite frankly, the films don't deserve her.
  3. Two-thirds of the way through, Seabiscuit awakes to its duties as a perfectly presentable race movie, rising to a crescendo of satisfying --- if somewhat gaga -- inspiration.
  4. After a lively first half-hour, the scenes start to feel heavy, as though Serrano suddenly decided he was actually making a meaningful drama, and the ensuing, halfhearted political satire is like an extra weight on top of that.
  5. The movie is so rigged to elicit the audience's empathy that it becomes difficult to watch; it's stifling.
  6. After a zippy first hour, the wackos wear out their welcome and the director, perversely, fails to show the big concert.
  7. What's fresh for these people is, frankly, old news for anyone who has seen even one or two documentaries on similar subject matter.
  8. Essentially a TV movie souped up by the divinely skittish cinematography of Chris Menges, the film suffers from a screenplay full of labored attempts at wit by Steven Knight, and characters who barely make it off the page alive.
  9. As a story it’s nothing much, but as eye candy it is world-class.
  10. Dazzling imagery and a grab bag of wry jokes, no matter how lively, can take a movie only so far when there's no emotional ballast attached.
  11. The Anarchist Cookbook drops a few scant sparks onto a torch that, hopefully, some other filmmaker will come along and run with.
  12. Mahieux, who is superb, methodically paint Peppino as a man for whom solitude is torture.
  13. How much can one girl grapple with over the course of an hour and a half?
  14. The bigger-than-big, rambunctious spectacle is way too much of a questionably good thing.
  15. This Thing of Ours is infatuated with the romance of gangsterism -- with an absurdly straight face, it asks us to feel mournful for the loss of “respect” and “integrity” in the mob community.
  16. Despite a hopelessly corny score, the movie is redeemed by a goofily touching final scene.
  17. The films, both narrative and nonfictional, range from the engagingly elliptical...to the simple-minded... to the cloying and incomprehensible.
  18. A funny summer frolic.
  19. There's lots of half-naked flesh on display, and an enticing sense of hot action afoot (especially between the two gay guys), but the directors seem timid about sex, and really, what's the point of being Spanish if you're afraid to show the good stuff?
  20. Recalls the structure of Danis Tanovic's 2001 black comedy, "No Man's Land," but not that film' hyperknowing urbanity or strident political savvy.
  21. The film, like the beleaguered country it depicts, has a raw, neurotic, brawling yet tender vitality.
  22. Wise and moving.
  23. Extraordinary is the very last adjective that comes to mind.
  24. There is, however, a more compelling, more melancholy story itching to break out here, one of two wounded people finding each other at the exact wrong moment in both their lives. But by the time Berri gets around to that idea, The Housekeeper is already finishing up.
  25. So stuck is the movie inside the heads and hearts of its indisputably gifted makers, it never quite makes the leap into ours.
  26. The booty here is 100 percent fool's gold.
  27. Indulging his taste for Grand Guignol and the stylistically baroque, Schwentke never quite overplays his hand, though his occasional lapses into visual extravagance can be irritating, and the result is a nasty, intelligent and complex thriller.
  28. Surprisingly unsexy, uninvolving affair.
  29. By the time we get to the big finish, it feels as if we've merely been poked repeatedly in the ribs with a really good-looking stick.
  30. Ray Harryhausen's original stop-motion Sinbad classics are a hard act to follow, but Tim Johnson and Patrick Gilmore's update, couched in a gorgeous palette of indigo and dark rose, is a big, beautiful thrill all its own.

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