Washington Post's Scores

For 7,954 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Time Bandits
Lowest review score: 0 Formula 51
Score distribution:
7954 movie reviews
    • tbd Metascore
    • 37 Critic Score
    Teetering precariously between satire and base humor, “Jimmy Vestvood” squanders opportunities for both.
  1. Ultimately, the movie just doesn’t justify its outrageous bid to turn a solemn tale of self-sacrifice into swaggering global-marketplace entertainment.
  2. Along the way there’s a sprinkling of humanizing moments.
  3. First-time director Trish Sie, a music-video veteran, is more interested in spectacle than character, as she demonstrates even when nobody’s dancing.
  4. 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.
  5. If there's an amnesia movie worse than Overboard, it slips my mind.
  6. 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?
  7. 3 Days to Kill feels like two very different movies, neither of which is particularly good.
  8. 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.
  9. 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.
  10. Adore at its core is a bore, nothing more.
  11. 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.
  12. The film is so thick with Jobs’s career highlights and lowlights that there’s little room for insights.
  13. 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.
  14. 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.
  15. Weber’s main point — that bullies are often victims of bullying themselves — gets lost in a tsunami of sorrow and sadism.
  16. Tyldum...isn’t a dynamic stylist as much as a competent executor of what’s on the page. He gets Passengers to where it needs to go, which is a resolution in keeping with a movie that wants to have its cake and eat it too, no matter how much credibility it strains, or how many political and ethical quandaries it elides.
  17. All of The Last Days on Mars feels like it’s been done before.
  18. In addition to some trite set pieces, writer-director Dan Mazer serves up nothing more than conspicuous cynicism masquerading as comedy.
  19. What’s missing here is something, or rather, someone, to care about.
  20. Slickers II is grounds for a stampede -- away from the theater.
  21. The movie’s editing mishaps, unbelievable scenarios, overuse of music and computer-generated fakery distract from what should be a great ad­ven­ture.
  22. The best thing about awkward moments, after all, is that they usually pass quickly. And, blessedly, just as swiftly forgotten.
  23. 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.
  24. 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.
  25. Writer-director Danny Strong’s feature debut embodies the very phoniness that the author — and his signature character, Holden Caulfield — railed against.
  26. Morality is hardly the main concern of The Ottoman Lieutenant. Instead, it’s content with hackneyed romance and soaring strings.
  27. Mottola and LeSieur seem to have actively avoided the pursuit of wisdom, settling for broad gags — and the occasional explosion — instead.
  28. 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.
  29. 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.

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