Critic Reviews
| 75 |
Boston Globe
Jonathan Perry
This real-life alliance is part of what makes the slice-of-life comedy The Wash work as well as it does, despite a somewhat skimpy though often crassly amusing script written by the film's director, D.J. Pooh.
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| 50 |
USA Today
Good spirits are worth something, and the movie has them, as well as scattershot chuckles.
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| 40 |
The New York Times
Isn't much of a movie (it'll play much better on the small screen), but the likable chemistry between Dre and Snoop counts for a lot.
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| 38 |
New York Daily News
Commits the cardinal sin of moviemaking: It leaves you bored.
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| 33 |
Entertainment Weekly
This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.
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| 30 |
New Times (L.A.)
If it had anything that even approached the vaguest vicinity of a plot, The Wash might be a cool diversion for a Saturday afternoon at the mall.
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| 25 |
New York Post
Boring and desperately unfunny.
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| 25 |
San Francisco Chronicle
Carla Meyer
The picture itself seems stoned. Line readings and whole scenes are abandoned midstream, as if Pooh lacked the attention span to see his ideas through.
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| 20 |
Washington Post
The story here is just not particularly amusing.
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| 20 |
Los Angeles Times
A knucklehead operation, all glands and attitude with no heart or brains.
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| 20 |
TV Guide
The pacing is slack, the comedy has an oddly sour tone and frankly, no matter how hard the script tries to paint Sean as a petty martinet with a stick up his butt, it's hard not to sympathize with him.
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| 11 |
Austin Chronicle
Next time, Pooh, why not do the work it takes and give your drowsy-eyed meal tickets some of the (as it were) good shit?
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| 10 |
Washington Post
David Segal
There's precious little to listen to, laugh at or ogle in The Wash, a sudsy slog that gets sidetracked by, of all things, a plot.
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| 10 |
Variety
A sloppy and shoddy piece of work, filled with just about every cliche and caricature common to low-budget, low-brow comedies with predominantly African-American casts.
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| 0 |
LA Weekly
What the film suffers from most, though, are its own low aspirations: stroking the libidos and funny bones of brain-dead 12-year-old boys immersed in the shallow end of hip-hop.
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