Washington Post's Scores

  • Movies
  • TV
For 6,732 reviews, this publication has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% 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 Le Havre
Lowest review score: 0 Alone in the Dark
Score distribution:
6,732 movie reviews
  1. A workmanlike, if treacly and overblown, piece of propaganda. Its effectiveness depends entirely on the degree to which you already believe its talking points.
  2. So didactic that viewers are likely to feel less uplifted than lectured.
  3. A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
  4. A 90-minute theatrical release from Nickelodeon Productions that, if anything, should have aired as a half-hour Nickelodeon special.
  5. A dreary, dismally unfunny excuse for a romantic comedy.
  6. That's the thing about this corpse pileup of an action movie. It persistently tries to drag the audience down to its mindless level.
  7. Hill and Stallone seem determined simply to prove that, even in their golden years, they're still tough enough to rumble with all comers. Bullet to the Head exposes that bravado for the pose that it is, and it's not a good look.
  8. McCarthy’s willingness to go to the mat notwithstanding, it’s viewers who are likely left feeling punched in the gut.
    • 35 Metascore
    • 25 Critic Score
    An ineffective excursion that maintains a few direct ties back to the original film but never moves the story forward.
  9. 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.
  10. The whole thing is played for laughs that almost never come. To be sure, the film has its moments, but they’re few and far between.
  11. To make matters worse, this third “Hangover” is dull.
  12. 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.
  13. This mishmash of styles, genres and tonal shifts makes for a dizzying pastiche best described in terms of the many movies it references throughout its nearly 2 1/2-hour running time, from “Little Big Man,” Buster Keaton’s “The General” and the Monument Valley-set canon of John Ford to “Dead Man,” “Rango” and “Pirates of the Caribbean.”
  14. Even though it earns an R rating for profanity and some risque material, it’s too meek and mild-mannered to qualify as brave, or even slyly subversive.
  15. The most objectionable thing about Only God Forgives isn’t that it’s shocking or immoral, but that it’s so finally, fatally dull.
  16. A dud that squanders a decent cast and succeeds neither as the comedy nor the action film it purports to be.
    • 44 Metascore
    • 25 Critic Score
    Producers David and Jerry Zucker have shown with "Airplane," "The Naked Gun" and "Top Secret" that they are inspired film parodists. Brain Donors suggests that they are clumsy plagiarists.
  17. Even likable actors can’t obscure the fact that, holy gods on Mount Olympus, this thing is a slog, a movie that dutifully hits its plot points involving prophecies and fleeces without evoking a whiff of spirit or imagination.
  18. The message of The Ultimate Life could be summed up on a greeting card. Or rather, 12 greeting cards.
  19. After the movie limps along for an hour and a half, Besson suddenly switches gears and does what he does best.
    • 50 Metascore
    • 25 Critic Score
    Carpenter being Carpenter, he vacillates between overexplanation -- his are the most verbose horror films -- and cheap shocks.
  20. It’s an air-kiss of a movie, one that places a non-contact peck on either side of its subject’s mouth, then breezes off before a serious conversation can begin.
    • 58 Metascore
    • 25 Critic Score
    Juvenile, disjointed and pointlessly revolting at times, although there are a few moments of disturbingly stark visual beauty.
  21. 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.
  22. Diana isn’t just an egregious case of rewriting history, but one of oversimplifying it.
  23. An insensitive, unfunny cringer from the entrepreneurial writer-director that should have come with a gift receipt.
  24. It’s more silly than scary.
  25. The only thing that distinguishes this teen-magnet wannabe from its predecessors is how lazily it appears to have been slapped together.
  26. For all its playfulness, the new RoboCop can’t help but lack the novelty of the original’s jolting mixture of dumb-smart irony and visceral pulp.

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