Washington Post's Scores

For 7,096 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 28 Weeks Later
Lowest review score: 0 The Honeymooners
Score distribution:
7096 movie reviews
  1. Things really slow down during the movie's ill-advised forays into drama.
  2. One of the weaknesses of The Sitter is that Hill doesn't develop much comic chemistry with the children.
  3. Here's a better title for Griff the Invisible, a well-meaning but unengaging love story about two 20-something misfits: "Griff the Implausible."
  4. Worse yet is the insincerity of the film's central performances. Too cool by half, Glodell, Wiseman and Dawson speak every line as if it had air quotes around it. In fact, the entire movie feels as though it has air quotes around it.
  5. The books-trump-movies camp knows where this is headed: The film version - contains two characters and one narrative too many.
  6. Jonah Hex may not be the longest 81 minutes you ever spend, but it might well be the most tedious.
  7. Dark Shadows doesn't know where it wants to dwell: in the eerie, subversive penumbra suggested by its title or in playful, go-for-broke camp.
  8. The biggest problem, then, is the characters who populate the film. For the most part, they're one-dimensional caricatures.
  9. I've got another portmanteau word for the movie: unbelievaballistic.
  10. The story is maddeningly oblique and incomplete, despite paying what at times feels like excruciating attention to the minutiae of a dying love affair's final hours.
  11. A cautionary environmental tale with a thin veneer of entertainment on top. With its cotton-candy-colored palette of orange, pink and purple truffula trees, it looks like a bowl of fuzzy Froot Loops. But it goes down like an order of oatmeal. Sure, it's good for you. It's just not terribly good.
  12. D'Souza makes it all sound almost plausible, but only if you're predisposed to believe that Obama hates America. It's bashing, all right, but with a velvet-gloved fist.
  13. H.G. Wells did it better. This movie spends so much yawn-inducing time on variations of the same combat scenario that its final showdown feels rushed.
    • 43 Metascore
    • 38 Critic Score
    It's all too predictable and by the book. Even with a few plot twists that aren't in the original, I was hardly shocked or awed. While it's sleeker and more sophisticated than the Chaney version, this new Wolfman isn't any scarier.
  14. Largely relies on stale gender stereotypes and tired comedy routines that don't elicit much laughter.
  15. As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
  16. The action and dialogue find the same squalid level in time for the climactic scene, the cruel humiliation of a central character. That's when sensitive viewers should do what the bloody-minded Joe could never imagine: Walk away from the mess he has made.
  17. An aggressively crass - and not especially funny - trip down memory lane, an attempt to recapture the sweetly ribald magic of the earlier film. As anyone who's ever attended a class reunion can tell you, it almost never works.
  18. Man on a Ledge has its diverting moments, but by the time it has reached its too-pat final twist, it turns out to be a title desperately in search of a movie.
  19. Cinema-as-shoplifting is okay, as long as you still get the feeling it's for a greater good. But that's something The Tourist is sorely missing.
  20. With the raunch of "American Pie" and the heart of an after-school special, the comedy turns out to be a lot less than the sum of its parts.
  21. A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
  22. Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
  23. You can't criticize it for false advertising.
  24. Ted
    Eventually MacFarlane's formula -- consisting of filthy, ethnically offensive jokes, scatological humor, tacky pop culture references and random cameos -- begins to wear thin.
  25. Jack Reacher is a wildly ill-advised miscalculation, with Cruise's virtually unstoppable appeal butting uncomfortably against Reacher's alternately cocky and downright crude cynicism.
  26. A strange little movie. Unsure whether it wants to be a quirky, sad-eyed indie pixie or a brassy, raunchy broad, it veers uneasily between the two, never quite settling into a comfortable or recognizable groove.
  27. Anne Fletcher's lifeless comedy about an overbearing mother and her exasperated adult son, has no flawlessly delivered punch lines. It doesn't even have a hangnail.
  28. Conceived and directed by Madonna, W.E. is a gorgeous mess.
  29. Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
  30. It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
  31. Charlie St. Cloud, like its star Zac Efron, is a gorgeous, unblemished thing. Both would be much improved with a tiny flaw or two.
  32. An uninspired studio product that demands as little from the audience as it did from its writers, directors and actors.
  33. Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.
  34. All of it makes for a rollicking, outsize tale of overweening ambition and palace intrigue, but J. Edgar instead plays it safe in a turgid, back-and-forth series of tableaux that look as if they were filmed from behind a scrim soaked in weak tea.
  35. The acting by Binoche and her two young co-stars is more nuanced than the film deserves. They bring a rich expressiveness and sense of complex inner life to their characters. It's the movie - and its placard-sized message - that is more two-dimensional.
  36. No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
  37. This third outing climaxes with a dark and melodramatic twist that, while adding a layer of nuance and back story that the previous two films never had, also feels wildly out of sync with its audience's expectations.
  38. The movie's self-importance is further inflated by the usual pseudo-Wagnerian score and occasional narration by John Hurt.
  39. You can't fault the filmmakers for reshaping a diary into a cohesive film. You can however, fault them for taking one of the great antiheroes in preteen literature and turning him into, well, an even wimpier kid.
  40. As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
  41. In attitude, if not aptitude, Robert Pattinson in Remember Me comes across like a latter-day James Dean.
  42. The movie’s action sequences are both thrilling and idiotic.
  43. The air inside the pyramid isn’t the only thing that’s stale in this ludicrous yet mildly likable horror film.
  44. It would be dishonest to claim it isn’t funny. The laughs may come in fits and starts, usually by way of sight gags and set pieces, but they do come. And then they go.
  45. Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
  46. The film is artfully shot with eye candy galore: sumptuous dresses, beautiful people and scenes from Pierre and Yves’s time in Morocco. But for all its visual stimulation, the story does little to awaken emotions.
  47. Ultimately, the movie just doesn’t justify its outrageous bid to turn a solemn tale of self-sacrifice into swaggering global-marketplace entertainment.
  48. Along the way there’s a sprinkling of humanizing moments.
  49. First-time director Trish Sie, a music-video veteran, is more interested in spectacle than character, as she demonstrates even when nobody’s dancing.
  50. Paul W.S. Anderson, best known for the “Resident Evil” franchise and 2011’s “The Three Musketeers,” creates harrowing simulations of the disaster. It’s enough to make you want him to ditch the story altogether.
  51. The question at the heart of Deliver Us From Evil, a garden-variety serial-killer thriller tarted up as an exorcism drama, is not whether good will triumph over evil. Rather, it’s this: What in God’s name possesses good actors to make dreck like this?
  52. 3 Days to Kill feels like two very different movies, neither of which is particularly good.
  53. The movie features not one, but two precocious children, a cloying stock character that should be used sparingly, if at all. And much of the dialogue sounds fake, veering alternately toward cutesy and overly cerebral.
  54. While some of the stories are interesting, the film is much longer than it needs to be. For his part, Salerno tries to get creative with solutions for the lack of visual stimuli, but most attempts fail.
  55. Adore at its core is a bore, nothing more.
  56. America is less successful as a debate, since it isn’t one. D’Souza controls the conversation, and thus goes unchallenged when he tries to make real-world points with make-believe scenarios.
  57. The film is so thick with Jobs’s career highlights and lowlights that there’s little room for insights.
  58. Like an elaborately decorated wedding cake, the kid-friendly Walking With Dinosaurs 3D may leave you wondering how something so stunning could end up being so bland.
  59. For all its intimations about finding one’s true self and the complicated setups for a big misidentification, The Pretty One is just another romantic dramedy.
  60. Weber’s main point — that bullies are often victims of bullying themselves — gets lost in a tsunami of sorrow and sadism.
  61. All of The Last Days on Mars feels like it’s been done before.
  62. In addition to some trite set pieces, writer-director Dan Mazer serves up nothing more than conspicuous cynicism masquerading as comedy.
  63. What’s missing here is something, or rather, someone, to care about.
  64. The movie’s editing mishaps, unbelievable scenarios, overuse of music and computer-generated fakery distract from what should be a great ad­ven­ture.
  65. The best thing about awkward moments, after all, is that they usually pass quickly. And, blessedly, just as swiftly forgotten.
  66. Although Boniadi makes Shirin nearly as likable as she’s supposed to be, writer-director Ramin Niami’s movie is crudely contrived and sloppily edited.
  67. What saves “Battle” from complete irrelevancy is the undisputable fact that a scrappy underdog formula tends to work no matter what time period or sport.
  68. So maybe some of this is hilarious. Heck, maybe all of it is. It will not be everyone’s cup of tea, and it was not mine.
  69. It’s John Goodman who steals every scene. As a scary loan shark who might cough up cash to get Jim out of his pickle, Goodman elevates the material, showcasing the dark humor that Wyatt was clearly going for. But, overall, that comedy just doesn’t land.
  70. Director James McTeigue frequently collaborates with the visionary Wachowski siblings, and he directed V for Vendetta. How the man who blew up Parliament in such memorably spectacular fashion can’t add some originality to Philip Shelby’s script is the movie’s only real mystery.
  71. Visually, Brick Mansions is a duller and more conventional film than “District B13,“ which was, if nothing else, a sourball-flavored form of eye candy.
    • 63 Metascore
    • 37 Critic Score
    The film is ambitious and heartfelt, with pressing concerns about the virtualization and fantasization of reality. But it’s a blunder, one interesting mostly for what it might have been.
  72. It’s exhausting. It’s also not particularly funny or engaging.
  73. Ironically, When the Game Stands Tall isn’t about keeping gridiron glory in perspective, but about blowing it out of proportion.
  74. Just a series of familiar scenes unfurling toward an inevitable conclusion.
  75. Don’t expect to see a great film, or even a very good one. Whether you discover a meaningful channel with which to continue your walk with the film’s protagonist, however, is strictly between you and your god.
  76. There’s some fun to be had, as long as your idea of fun includes being grossed out.
  77. The film might take its name from poker subculture, but it lacks all the urgency, single-mindedness and swiftness that the title implies at its most literal. Runner Runner is a bummer. Bummer.
  78. What Polar Bear really lacks is hindsight. It is a little girl’s valentine to her father, without the benefit of bittersweet wisdom that comes with age.
  79. Stoker plays out like a Kabuki “Macbeth”: gallons of style slathered on a story you already know by heart.
  80. Heedless of purpose, Horns charges full speed ahead anyway, ramming its high-concept hooey down your throat until the only heat you feel is from indigestion.
  81. Ultimately the movie feels like an empty exercise. Sure, it’s a cautionary tale about the pitfalls of fame. But when the one figure most worthy of our sympathy is nothing more than a beautiful blonde robot, what’s the point?
  82. It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
  83. The movie has an Austen-like plot about an Austen obsessive. And while Hess laboriously checks off so many familiar scenarios...the film doesn’t have so much of what makes Austen transcendent.
  84. Despite Blomkamp’s efforts to make some kind of commentary about the human soul, which the auteur bolsters with his trademark social consciousness — a tone of preachiness that, after three films, has worn out its welcome — the movie exhibits precious little humanity.
    • 46 Metascore
    • 37 Critic Score
    By the end, though, the original bits fade as easily as one song bleeds into another.
  85. Kids will chuckle, for sure. But parents who were pleasantly surprised by the original film’s intelligence will miss Lord and Miller’s guiding hands, as what once felt so funny now leaves a stale taste.
  86. The movie winks and nudges its way through a lighter, modernized variation of the classic, proud of its own cleverness every time Gemma’s life mirrors Madame B’s. But imitation for the sake of itself isn’t brilliant, especially when the elements most worthy of copying — Flaubert’s precise narration and telling details — don’t make the cut.
  87. As Above, So Below is inherently absurd, but it would be somewhat less so had it fully committed to just one of its ridiculous premises.
  88. Pride and Prejudice and Zombies delivers what its title promises: a little romance and some undead villains, plus a bit of comedy. But this overly busy riff on Austen’s winning formula doesn’t justify all the tinkering.
  89. Halloween is a stab at a derivative minor classic. It's apparent where Carpenter got his horror devices - and a minor misfortune that he hasn't been able to synthesize them in a fresh or exciting way.
  90. Although Kill Me Three Times includes a few murders, it does nothing to justify its title. Mostly, it just shoots itself in the foot, over and over.
    • 47 Metascore
    • 37 Critic Score
    This outing does not suffer the epic badness one associates with films that aren’t screened early for critics, and in fact it offers moments of actual entertainment. It simply fails to exploit its assets: an amusing, revisionist take on the mythological strongman, and the charisma of Dwayne “The Rock” Johnson.
  91. Monday at 11:01 a.m. would probably work well as a half-hour television episode or a short story. As a feature film, unfortunately, it feels a bit like clock watching.
  92. It seems that Andy and Lana Wachowski have never lost that childlike ability to dream. But they also haven’t mastered the grown-up power to rein it in. The story they tell in Jupiter Ascending could probably occupy an entire television season. There’s way too much here for one movie to hold.
  93. Writer-director Rupert Goold, here making his feature debut, fails to capture the chemistry and tonal complexity necessary to make this grim, often grisly tale anything more than a tragically lurid anecdote.
  94. Clocks in at close to two hours. It feels much longer. By comparison, Malick’s World War II epic “The Thin Red Line” tipped the scales at a whopping 170 minutes. But at least that 1998 film had people shooting at each other. There’s no such excitement here.
  95. Need for Speed is a piece of auto-collision pornography that weighs down its car-flip-and-massive-fireball money shots with a preposterous plot involving vehicular manslaughter vengeance.
  96. Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.

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