Paul Malcolm

Paul Malcolm

Agrees with the Tomatometer 81% of the time.

Paul Malcolm's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): L.A. Weekly

Movie Reviews Only

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Rating T-Meter Title | Year Review

Shrek (2001)

"Murphy steals every scene he's in with equal parts bounce and warmth." ‐ L.A. Weekly
Posted Jun 9, 2015

Shadow Company (2007)

"[A] fascinating, evenhanded documentary." ‐ L.A. Weekly
Posted Sep 13, 2007

Cut Sleeve Boys (2007)

"[Director] Yeung handles [his characters'] parallel journeys of self-discovery with humor, grace and an occasionally heavy hand, with Leow giving a winning performance as Ash." ‐ L.A. Weekly
Posted Aug 9, 2007
No Score Yet

The Last Confederate: The Story of Robert Adams (2005)

"It's easy to keep blaming Ken Burns for this kind of softcore Civil War porn, but enough is enough: This is a vanity project of the most indulgent order." ‐ L.A. Weekly
Posted Jun 7, 2007

Fakers (2004)

"Such artless inattention to the con man's craft might be overlooked if any of the characters or performers had the personality to pull one over on us, the audience." ‐ L.A. Weekly
Posted Apr 26, 2007

Quality of Life (Against The Wall) (2006)

"It's a setup as old as the hills, but the unvarnished simplicity with which first-time director Benjamin Morgan rolls it out makes the tale worth another go-round." ‐ L.A. Weekly
Posted May 25, 2006

An American Haunting (2006)

"This 'true account' of the Bell Witch haunting offers an encyclopedic rehash of spook films new and old, dressed out in murky period detail." ‐ L.A. Weekly
Posted May 4, 2006

The Fog (2005)

"A film riddled with missed opportunities for good clean scares." ‐ L.A. Weekly
Posted Oct 20, 2005

The Squid and the Whale (2005)

"in The Squid and the Whale, Noah Baumbach weds his verbal gifts to a fresh visual acuity that brings layers of rich detail to a portrait of a family coping, poorly, with self-inflicted change." ‐ L.A. Weekly
Posted Oct 13, 2005

Serenity (2005)

"It's the zippy chatter among the Serenity's wised-up space pirates that gives the film most of its punch, but with only serviceable action sequences and largely cookie-cutter effects, you can still sense the void just outside." ‐ L.A. Weekly
Posted Sep 29, 2005

A State of Mind (2005)

"Gordon gives an intimate, balanced account of how political power, famine, power shortages and a hatred of America have shaped their young lives." ‐ L.A. Weekly
Posted Sep 1, 2005

Killing Ends (Matando Cabos) (2005)

"Prominently placed in Jaque's bachelor pad is a poster for Down by Law, but it's abundantly clear that Lozano and company have been re-watching Pulp Fiction for the last decade." ‐ L.A. Weekly
Posted Aug 25, 2005

The Dukes of Hazzard (2005)

"As a salvo in the culture wars, Dukes of Hazzard is a dud, and as an actual movie it doesn't rate much higher." ‐ L.A. Weekly
Posted Aug 4, 2005

Gigantic (2002)

"The Giants' longevity flows from the fact that they can't be explained, only experienced." ‐ L.A. Weekly
Posted Jun 27, 2003

Spun (2003)

"While his characters wallow and his wasted cast founders in the shoals of Will De Los Santos and Creighton Vero's script, Åkerlund apes the tics of his primary influences: Oliver Stone, Darren Aronofsky and the photography of David LaChapelle." ‐ L.A. Weekly
Posted Mar 19, 2003

Fidel (2002)

"It's a refreshing change from the self-interest and paranoia that shape most American representations of Castro." ‐ L.A. Weekly
Posted Mar 6, 2003

Poolhall Junkies (2002)

"A one-way ticket to Palookaville." ‐ L.A. Weekly
Posted Feb 27, 2003

The Jungle Book 2 (2003)

"It can't shake the impression of a video premiere stretched to big-screen size." ‐ L.A. Weekly
Posted Feb 12, 2003

Dragonfly (2002)

"Despite the film's aspirations to soul healing, its uplift remains mechanical, like an escalator's." ‐ L.A. Weekly
Posted Jan 20, 2003

Rollerball (2002)

"Pushes the Hollywood action movie to stratospheric new levels of incoherence." ‐ L.A. Weekly
Posted Jan 15, 2003

Skins (2002)

"Rather quickly, the film falls into a soothing formula of brotherly conflict and reconciliation." ‐ L.A. Weekly
Posted Dec 13, 2002

Take Care of My Cat (2002)

"A captivating coming-of-age story that may also be the first narrative film to be truly informed by the wireless age." ‐ L.A. Weekly
Posted Dec 13, 2002

Star Trek - Nemesis (2002)

"Nemesis never feels true to itself, its energy never fully engaged." ‐ L.A. Weekly
Posted Dec 12, 2002

Trembling Before G-d (2001)

"Moving and, ultimately, hopeful -- a hope that extends further than most documentaries allow." ‐ L.A. Weekly
Posted Dec 12, 2002

Promises (2002)

"Too sincere to exploit its subjects and too honest to manipulate its audience." ‐ L.A. Weekly
Posted Dec 9, 2002

They (2002)

"Stinks from start to finish, like a wet burlap sack of gloom." ‐ L.A. Weekly
Posted Dec 5, 2002

Lilo & Stitch (2002)

"Disney's most winning animated couple since Bambi and Thumper." ‐ L.A. Weekly
Posted Dec 2, 2002

Juwanna Mann (2002)

"Vaughan brings such disregard to the film that its pedestrian on-court action might as well have been shot from the bleacher seats." ‐ L.A. Weekly
Posted Nov 18, 2002

Reign of Fire (2002)

"Despite a few epic revelations, we never get a real sense of living, breathing dragons." ‐ L.A. Weekly
Posted Nov 18, 2002

The Way Home (Jibeuro) (2002)

"A conventional if appealing tear-jerker." ‐ L.A. Weekly
Posted Nov 14, 2002

Jackass - The Movie (2002)

"Best wear a helmet and have some fun." ‐ L.A. Weekly
Posted Oct 31, 2002

I Spy (2002)

"Thomas trudges through the film's action sequences with such obvious disinterest that when Wilson turns from a lackluster fireball to quip, 'Whoa, that was a big explosion,' you really know he's putting us on." ‐ L.A. Weekly
Posted Oct 31, 2002

The Happiness of the Katakuris (2001)

"An amusing scenario, until even Miike seems to lose his taste for the oddly sweet concoction and allows the film to drift aimlessly to a rainbow-hued finale." ‐ L.A. Weekly
Posted Oct 25, 2002

Looking Through Lillian (2002)

"Torem drifts into formula and his initially promising film goes unbearably soft." ‐ L.A. Weekly
Posted Oct 24, 2002

The City of Lost Souls (Hyôryû-gai) (2001)

"While the film throws a solid pop punch, you could still swear you've seen it all before." ‐ L.A. Weekly
Posted Oct 24, 2002

Swept Away (2002)

"On top of a foundering performance, [Madonna's] denied her own athleticism by lighting that emphasizes every line and sag." ‐ L.A. Weekly
Posted Oct 10, 2002

American Adobo (2002)

"Guillen rarely gets beneath the surface of things. She lists ingredients, but never mixes and stirs." ‐ L.A. Weekly
Posted Oct 3, 2002
No Score Yet

Rukajärven tie (Ambush) (2002)

"[It has] a humanist touch that stands at odds with the film's wholesale demonizing of the scattered Soviet army." ‐ L.A. Weekly
Posted Oct 3, 2002

Jonah - A VeggieTales Movie (2002)

"Your taste for Jonah - A Veggie Tales Movie may well depend on your threshold for pop manifestations of the Holy Spirit." ‐ L.A. Weekly
Posted Oct 2, 2002

Adventures of Felix (2001)

"It would all be too obviously feel-good if Ducastel and Martineau weren't also tuned in to the liberating drift of the open highway and a sharp native humor that adds needed flesh and blood to their walking metaphors." ‐ L.A. Weekly
Posted Oct 1, 2002

Girls Can't Swim (2002)

"The film's intimate camera work and searing performances pull us deep into the girls' confusion and pain as they struggle tragically to comprehend the chasm of knowledge that's opened between them." ‐ L.A. Weekly
Posted Sep 30, 2002

Wasabi (2001)

"The film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises." ‐ L.A. Weekly
Posted Sep 26, 2002

Ballistic: Ecks vs. Sever (2002)

"While much of the film's action ... comes live, as opposed to the digital mayhem of the game, Thai director Kaos (a.k.a. Wych Kaosayananda), making his inauspicious Hollywood debut, still can't breathe any life into it." ‐ L.A. Weekly
Posted Sep 19, 2002

Crop Circles: Quest for Truth (2002)

"Why Crop Circles now, if not to ride the hype of M. Night Shyamalan's Signs to some quick cash? The movie's rambling, slapdash, repetitious nature suggests as much." ‐ L.A. Weekly
Posted Sep 17, 2002

40 Days and 40 Nights (2002)

"Hartnett's pitch-perfect sexual panic can be hilariously funny." ‐ L.A. Weekly
Posted Sep 16, 2002

Amy's O (Amy's Orgasm) (Why Love Doesn't Work) (2002)

"It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah." ‐ L.A. Weekly
Posted Aug 29, 2002

The Adventures of Pluto Nash (2002)

"Dismally dull sci-fi comedy." ‐ L.A. Weekly
Posted Aug 22, 2002

Pauline & Paulette (2002)

"The film's plainness, and the understated force of van der Groen and Petersen's performances, sharpen its complexity of feeling until all mawkishness is cut away." ‐ L.A. Weekly
Posted Aug 12, 2002

Session 9 (2001)

"A deft exercise in atmospheric horror and insanity." ‐ L.A. Weekly
Posted Aug 12, 2002

XXX (2002)

"Diesel smolders as bad boy with spy toys Xander Cage." ‐ L.A. Weekly
Posted Aug 8, 2002
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