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. The Mexican
    Undisciplined and overstuffed with enough surplus plot twists to make your neck ache, The Mexican affects the tousled look of a self-conscious indie.
  2. 3000 Miles to Graceland
    A mean-spirited, hyperviolent, stupid movie.
  3. Monkeybone
    Like so many movies that depend on effects for effect, plot comes in a poor second to spectacle. That leaves the Fraser, funny and sexy as hell, left with little chance to prove it.
  4. Last Resort
    The movie's a beauty.
  5. The Widow of Saint-Pierre
    As stunning to look at as "Girl on the Bridge" or indeed any of his others, but it lacks the distilled intensity — and, surprisingly for Leconte, the wit.
  6. Down to Earth
    The film seems to argue that Rock's real-life manipulation of the race card is little more than exploitation, rather than the essence of his incendiary comic critique.
  7. Company Man
    Unfunny comedy. Nearly everyone is terrible except for Cumming, who just does what comes naturally and steals his every scene.
  8. Recess: School's Out
    It boasts none of the studio's high-gloss animation. That said, Recess is not without its charms.
  9. Sweet November
    This feeble remake offers little more than two pretty and willing leads who nonetheless can't hide their embarrassment over being set up as distractions to hide the film's thorough lack of coherence and appeal.
  10. Downward Angel
    Screams straight-to-video.
  11. The Taste of Others
    It's the dialogue -- wisecracking and wistful in equal measure -- that plays out the tyrannical illogic of romantic attraction, and so endears us to this ensemble of bruised souls that when, as in life, not everyone gets what they have come to deserve, it feels, as in life, like an injustice.
  12. Journey to the Sun
    Ustaoglu has made Mehmet unbelievably naive -- and the hardships piled upon him unintentionally evoke "The Perils of Pauline." That dilutes what should be a powerful protest film, and robs it of the emotional impact it aims for.
  13. Signs & Wonders
    Beautifully acted film remains deeply intelligent and always fascinating.
  14. Saving Silverman
    This is harmless stuff, and sometimes it's actually pretty funny, too.
    • 70 Metascore
    • 70 Critic Score
    Bad Company
    Refreshingly complex teen drama.
  16. Hannibal
    The flabbiest of cop-outs. Moore gives a flat, spiritless performance, almost matched by that of Anthony Hopkins, who, notwithstanding the Armani threads, shuffles around like a pensioner in bedroom slippers.
  17. In the Mood for Love
    It is undeniable in its poignancy, an ecstatic vision of what might have been, though as much for its story as for the fact that the whole thing dissolves like a paper fan in rain, an evanescent masterwork.
  18. Fever
    Excellent performances.
  19. The Invisible Circus
    Something there is about the '60s that undoes the most intelligent of filmmakers.
  20. Nico and Dani
    Filled with the kind of frank, nonsensational sensuality that eludes American filmmakers, this movie proves again that the most interesting cinema about teenage life -- gay and otherwise -- is being made far from our provincial shores.
    • L.A. Weekly
  21. The Million Dollar Hotel
    How this hopelessly muddled and tedious dirge got released -- unless it was through the clout of Mel Gibson, who's grafted on as an FBI agent in a neck brace, with no discernible connection to the action -- is the real mystery.
  22. Valentine
    Highly reductive and deathly dull slasher flick.
  23. Head Over Heels
    Although rumor and marketing indicate that this is meant to be a comedy, there's little that's funny here.
  24. Sugar & Spice
    Any movie offering a Muzak version of the Ramones' "Blitzkrieg Bop"warrants an immediate and unqualified recommendation.
  25. Glamour
    Most of the movie is observant and level-headed, a tip of the hat to ordinary schlubs entangled in vast events, people who would otherwise be background victims in a conventional historical drama.
  26. Trolösa
    Bergman's collaboration with Ullmann began when he directed her in "Persona" (1966). Here, with the roles nearly reversed, she shows herself as great an interpreter behind the camera.
  27. Two Ninas
    Peet and Poor make strong impressions in smaller roles, but then again, edgy and sexy is easier to make compelling than decent and nice.
  28. Amy
    If Tass had found a way to include more playfulness, her film would be more endearing. Instead, she accents the easy bathos of David Parker's script, from the problems of the shrill, cliched neighbors to a finale that plays like a movie of the week.
  29. The Wedding Planner
    Director Shankman has diligently studied the forms and reproduced the moves of the screwball romances he so clearly loves, but he simply hasn't the chops to put together even a decent rip-off of those glittering jewels of the '30s and '40s, which depend on great writing, classy situation comedy and, above all, chemistry.
  30. The Pledge
    Penn's own gifts as an actor seem, in turn, to bring out the best in Nicholson, as well as the rest of the cast.
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