Washington Post's Scores

  • Movies
  • TV
For 6,755 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: 58
Highest review score: 100 The Piano Teacher
Lowest review score: 0 8MM
Score distribution:
6,755 movie reviews
  1. A 90-minute theatrical release from Nickelodeon Productions that, if anything, should have aired as a half-hour Nickelodeon special.
    • 58 Metascore
    • 25 Critic Score
    Juvenile, disjointed and pointlessly revolting at times, although there are a few moments of disturbingly stark visual beauty.
  2. Despite classy lead performances by Mark Duplass and Olivia Wilde, the movie, from horror factory Blumhouse (known for cranking out sequels in the “Paranormal Activity” franchise, among others), relies too heavily on reanimated monster movie cliches and scientific gibberish to keep it alive.
  3. The unapologetic laziness and ineptitude of Jack's impersonation, which is played for cheap laughs, is just as lazy as Sandler's performance as the real Jill. You don't buy it for a minute.
  4. This biblical action drama that feels excessive in every way imaginable, from running time (nearly 2 1/2  hours) to melodramatic acting to the conspicuous amount of computer generation.
  5. The Hangover Part II offers absolutely nothing new to fans of the first film. In fact, once the comfort of familiarity has worn off, they may well feel as baited-and-switched as the patrons of one of the sketchier clubs the boys visit.
  6. A workmanlike, if treacly and overblown, piece of propaganda. Its effectiveness depends entirely on the degree to which you already believe its talking points.
  7. An insensitive, unfunny cringer from the entrepreneurial writer-director that should have come with a gift receipt.
  8. You can’t blame Will Smith for wanting to give his son a leg up in the business. Maybe one day Jaden will have his father’s career — and his ability to carry a movie. For now, it’s a little premature to ask him to bear the weight of this soggy, waterlogged “Earth” on his skinny shoulders.
  9. An egregiously unfunny enterprise.
  10. Haphazardly conceived, phlegmatically paced, lazily filmed and punctuated with gratuitous moments of sexual and scatological slapstick.
  11. The only thing that distinguishes this teen-magnet wannabe from its predecessors is how lazily it appears to have been slapped together.
  12. Unnecessary and unfunny re-imagining of the classic satire by Jonathan Swift.
  13. Overlong, overcrowded, overstimulating and with an over-the-top performance by Charlize Theron as the evil queen Ravenna, the movie is a virtual orchard of toxic excess, starting with the unnecessarily sprawling cast of characters.
  14. How bad is the third installment... So bad that this bland, pointless sequel features a gratuitous scene where the stunning Jessica Alba - one of many new faces added to an already overstuffed ensemble - strips down to her lacy undergarments, belly-flops into a backyard pit, rolls around in the mud, and I still can't recommend you pay to see it.
  15. "Bridesmaids" may have been crude, but it also said something about female friendships that felt true. Bachelorette feels like it's about four women who, not even all that deep down, can't stand one another.
  16. That's the problem with the whole movie, which lies halfway between poker-face documentary and broad farce.
  17. This Arthur is an exercise in time-travel tedium, a trip to the Land That Funny Forgot.
  18. At nearly two hours, the movie feels bloated. It could easily lose 30 minutes, give or take, and live. It would still not, however, live up to its title.
  19. A shapeless collection of encounters with Texas prison inmates and their victims, what could have been a well-aimed examination of the most troubling contradictions of capital punishment instead becomes a maudlin, unrestrained wallow.
  20. It gets the bullet points of Sam Childers's life, but misses the target.
  21. What's Your Number? ups the vulgarity, ladling it on top of a rom-com base so insipid and predictable that the only thing to keep you awake is counting the number of times that the script drops the word "vagina."
  22. The intentions for I’m in Love With a Church Girl may have been noble, but nearly every part of the delivery turns out to be flawed.
  23. A dreary, dismally unfunny excuse for a romantic comedy.
  24. It leaves audiences in a limbo every bit as torturous as the one the protagonist is in.
  25. The movie feels like Nicholas Sparks fan fiction.
  26. The movie itself is already like one long commercial.
    • 24 Metascore
    • 25 Critic Score
    The camera style is grotesquely overwrought, a relentless exercise in technique for technique's sake. It's all here, folks: fancy wipes, expressionistic angles, quick-cut close-ups, stylized backlighting, camera moving in endless illogic. It's as if a 15-minute history of film technique had been compiled by a psychotic. [19 Mar 1986, p.B9]
    • Washington Post
  27. About the movie industry’s misguided belief that it can distract the audience from a film’s narrative weaknesses with little more than flash and spectacle. That con might have worked with the rubes once upon a time, but in case Hollywood hasn’t noticed, we’re not in Kansas anymore.
  28. There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.

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