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 | |
|---|---|---|
| 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
Scott Foundas
Singer's approach to X2 is very much of the "If it ain't broke, don't fix it" school, resulting in a movie that, even at its best -- a thrilling jailbreak scene that's the closest thing in either X movie to a rousing set piece -- seems tame and unmemorable.- L.A. Weekly
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Reviewed by
David Chute
The cast of the Disney Channel's Lizzie McGuire romped strenuously through a plot that would be old hat as a two-parter on a sitcom.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Ella Taylor
For the committed word nerd, spelling has its intrinsic pleasures, but in Spellbound it's another example of the peculiarly American mania for turning everything -- even play --into work.- L.A. Weekly
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Reviewed by
John Powers
Cooney's achingly clever script has more up its sleeve than just Agatha Christie -- he also evokes "Psycho," "The Sixth Sense," "Poltergeist" and "The Omen" -- and the final third dishes up a twist that isn't just surprising, it's revealing- L.A. Weekly
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Reviewed by
Ella Taylor
Confidence grooves on the giddy joy of storytelling -- on the digressive whimsy of good dialogue, on playful editing, on the ways in which con men -- and filmmakers -- psych out their victims.- L.A. Weekly
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Reviewed by
Ella Taylor
The question is not how bad this excuse for a domestic comedy is (medium cringe), but how the gifted Fred Schepisi got suckered into directing a vanity project.- L.A. Weekly
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John Patterson
The always-watchable Bologna is the adhesive holding together this slight and gentle romantic comedy, lending it perhaps more conviction and authority than the material warrants.- L.A. Weekly
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Reviewed by
Ella Taylor
As a thriller, People I Know -- which has languished unreleased since 2001 -- is barely plausible. As a critique of the meshing of power politics between East and West coasts, the movie is more smart-alecky than wise.- L.A. Weekly
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Reviewed by
Scott Foundas
Melamed's debut film, Manic, set in a juvenile mental institution, has all the uncertainties of a first run-through.- L.A. Weekly
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John Powers
Dillon doesn't yet possess the directorial chops to give his story the necessary snap; the action too often feels poky and muffled. But he does have a strong sense of place, and the movie's almost worth seeing just for Jim Denault's exquisite cinematography.- L.A. Weekly
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- L.A. Weekly
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- Critic Score
Occurring as it does amid a surge of tragedy and bitterness, its comic effect is powerfully mitigated.- L.A. Weekly
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Reviewed by
John Patterson
No matter how “real” things appear, scenarios and story arcs are relentlessly imposed upon the partay-cipants so as to finesse a narrative as crudely overdetermined and howlingly predictable as any studio-manufactured fiction.- L.A. Weekly
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Reviewed by
John Powers
One wonders what exactly Richard LaGravenese and the late Ted Demme thought they were doing in this documentary, which doesn't so much look at the period as genuflect before it.- L.A. Weekly
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Reviewed by
Hazel-Dawn Dumpert
Film is a ghostly and gorgeous tale of a court magician, the legendary Abe no Seimei.- L.A. Weekly
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- L.A. Weekly
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Reviewed by
Chuck Wilson
Sometimes the predictability of a romantic comedy is reassuring, and sometimes it makes you want to scream, as with this witless wonder.- L.A. Weekly
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Reviewed by
Ernest Hardy
Lilya is the more genuinely unsettling film because Moodysson seems to actually know something of what it is to take and stumble beneath a crushing blow. You feel that here. And you feel it for days after.- L.A. Weekly
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Reviewed by
Chuck Wilson
Although parents of small children are advised to give the film an advance look, Holes may nudge older kids toward that most ancient of after-school distractions: reading.- L.A. Weekly
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Reviewed by
John Powers
Astonishing both for the beauty of the birds and for its sheer technical brilliance.- L.A. Weekly
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Hazel-Dawn Dumpert
It’s a testament to Chow's star power that, even with an accent more than casually reminiscent of Elmer Fudd's, he comes off charming, handsome and cool in a movie as ridiculous as Bulletproof Monk.- L.A. Weekly
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Reviewed by
John Patterson
Remarkably, it took four writers to concoct this tin-eared, slighter-than-slight farce.- L.A. Weekly
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Hazel-Dawn Dumpert
Freshened immensely by pitch-perfect song parodies, a batch of hilarious faux album covers, nimble improv from the ever-marvelous cast, and a palpable love for the subject matter.- L.A. Weekly
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Reviewed by
Mark Olsen
By the time a not terribly surprising tragedy hits and these crazy kids get theirs, the movie doesn't so much end as finally keel over.- L.A. Weekly
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Reviewed by
Ella Taylor
The movie often seems as innocent and goodhearted as its subject. Still, Jebeli is possessed of an impish visual sense. He also has the Iranian gift for bringing to vivid life people we wouldn't give a second glance.- L.A. Weekly
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Reviewed by
Mark Olsen
Going Down is woefully lacking in the comedy (or the sex for that matter), and even some of the teens look a little long in the tooth.- L.A. Weekly
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Reviewed by
John Powers
Although Sandler's formula remains constant -- the downtrodden hero can do eet! -- what's new is his willingness to share the screen equally with a male co-star. Not that anyone could get in the way of that mugging steamroller Nicholson.- L.A. Weekly
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Hazel-Dawn Dumpert
The young filmmaker clearly needs to experience a bit more of la vraie vie before his own observations can take in more than the clumsy romantic feints and parries of early adulthood.- L.A. Weekly
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Reviewed by
John Powers
Though it doesn't fully transcend its small budget (the lighting is dingy), the story feels rooted in something more solid than prefab posturing.- L.A. Weekly
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