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 8.7 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. Tadpole
    It requires nothing more of a viewer than quiet complaisance, which is rewarded in turn by pleasant scenery, a few mild laughs, and the dependably involving presence of Weaver and, especially, Neuwirth.
  2. Eight Legged Freaks
    It's the filmmakers' post-camp comprehension of what made old-time B movies good-bad that makes Eight Legged Freaks a perfectly entertaining summer diversion.
  3. Langrishe Go Down
    Despite his (Jeremy Irons) showboating turn and Dench's lascivious energy, it's Annette Crosbie, in her quiet way, who gives the most commanding performance, as the sister who sees all too clearly what's coming.
    • 50 Metascore
    • 70 Critic Score
    The Crocodile Hunter: Collision Course
    Thankfully, the film, which skirts that rapidly deteriorating line between fantasy and reality -- Irwin as "himself" as croc expert as suspected international spy -- takes a tongue-in-cheek attitude even as it pushes the Croc Hunter agenda: Mother Nature? Don’t muck with her.
  5. Sex and Lucia
    Climaxes in a flood of revelations that, like so much of the film, take us where we least expect to go.
  6. Reign of Fire
    Bowman and production designer Wolf Kroeger do an excellent job of evoking a twice-baked England, while writers Gregg Chabot, Kevin Peterka and Matt Greenberg keep the script devilishly pitched just shy of preposterous (it's McConaughey who stumbles beyond).
  7. Road to Perdition
    Like a date who's primped too long to arrive at dinner with something to talk about, Road to Perdition is beautifully groomed and a perfect drag to be with.
  8. All About Lily Chou-Chou
    One of the most haunting, viciously honest coming-of-age films in recent memory.
    • 70 Metascore
    • 40 Critic Score
    Tosca
    This filmed Tosca -- not the first, by the way -- is a pretty good job, if it's filmed Tosca that you want. I'll stay with the stage versions, however, which bite cleaner, and deeper.
  10. Halloween: Resurrection
    If, as it appears, Rosenthal is competing with the knife-wielding Myers for the title of biggest hack, he wins by unanimous decision.
  11. Never Again
    Schaeffer fails to develop the relationship beyond clichéd signpost events.
  12. My Wife Is an Actress
    Calculated to titillate middlebrow audiences on both sides of la Manche.
  13. Ziggy Stardust and the Spiders from Mars
    Somehow poor pacing and this lack of visual variety manage to make a great show seem boring.
  14. Group
    Some psychobabble ("We're all trying to be who we are") is inevitable, but somehow or other the thing works, largely because the acting, though primarily reactive, invests the movie with enough immediacy and specificity to turn the most excruciating banality into an original thought.
  15. Me Without You
    Me Without You is at its truest and most affecting when it steps back from the gig gling, bitching and nail biting to reveal how the compulsion to control and appropriate can be born of simple love and admiration.
  16. Read My Lips
    Improbably, Read My Lips escapes the cynicism of much contemporary neo-noir, if only by a hair, by ending as a love story of delightful crackpot idealism, in which Paul has made a crook and a hussy out of Carla, and she's made a gentleman out of him.
    • 49 Metascore
    • 40 Critic Score
    Men in Black II
    Smith and Jones sometimes have to paddle hard to keep their heads above the toilet water in which screenwriters Robert Gordon (Galaxy Quest) and Barry Fanaro (Kingpin) occasionally dunk them. But if the presence of Smith and Jones is indeed the tinker-proof ingredient of the Men in Black formula, little else seems to have survived the production unaltered.
  18. Like Mike
    A solidly crafted family comedy.
    • 65 Metascore
    • 70 Critic Score
    The Powerpuff Girls
    All you really need to know, finally, from a consumer angle, is that it is not boring, and looks fantastic, and maintains the wit and spirit of the original, and that -- it takes care of the grown-ups first. There are obscure puns and cultural references for Mom and Dad, dog pee and monkey poo (metaphorical) for the kids, and fighting for . . . everybody!
  20. Notorious C.H.O.
    When she unabashedly puts herself in the same category as Richard Pryor (the master of identity politics and cultural reportage), it's not just presumptuous posturing on her part. She's earned her place there.
  21. Harvard Man
    As with most of Toback's films, there are Big Ideas being bandied about that never quite coalesce, a failing that, this time at least, mirrors his hero's own hyped-out search for meaning.
  22. The Cockettes
    A fascinating, richly detailed documentary about the legendary queer collective based in San Francisco in the late '60s and early '70s.
  23. Hey Arnold! The Movie
    The rough, watercolor washes of its city backdrops mark the film with nostalgia while its story carries us along at an amiable, buoyant pace.
  24. Mr. Deeds
    Sandler is -- à la "The Wedding Singer" -- in his washout romantic mode here, and no amount of spastic-colon jokes, cartoon violence or good-buddy cameos (Al Sharpton, John McEnroe) can distract from the fact that Gary Cooper he ain't.
  25. Pumpkin
    Off sorority row, the movie goes flat for increasingly long stretches, with the filmmakers displaying so little understanding of or genuine feeling for the mentally challenged that they never advance past stutter-and-stumble humor.
  26. Juwanna Mann
    So what in this high-concept lame-a-thon makes screenwriter Bradley Allenstein think he can diss the Clippers?
  27. Bobby G. Can't Swim
    The movie rarely overcomes its terminal Scorsese- and Ferrara-isms, or fulfills the promise, evident in the film's early passages, that Montias might be a fine observer of local color with his own unique stories to tell.
  28. Sunshine State
    If Sayles had maneuvered these stories and performances into even a shade more sentimentality or gravitas, the weight would have collapsed them like a house of cards. As it is, they breathe easily, delicately into each other.
  29. Dahmer
    The purest of horror films.
  30. Minority Report
    Terrifically entertaining specimen of Spielbergian sci-fi, incomparably better than "A.I." and as dark a movie as the director has made since "Schindler's List."
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