Washington Post's Scores

For 8,147 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Nobody's Fool
Lowest review score: 0 Journey 2: The Mysterious Island
Score distribution:
8147 movie reviews
  1. Mottola and LeSieur seem to have actively avoided the pursuit of wisdom, settling for broad gags — and the occasional explosion — instead.
  2. 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.
  3. 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.
  4. The big thrills and few laughs are no match for the cumbersome, convoluted story, not to mention the nonexistent chemistry between Cruise and Wallis.
  5. Strip away the trite character beats, rote plot points, random dream sequences and other narrative padding, and “Batman v Superman” comes down to the actors, their characters and whether they can sustain interest over the long haul. The answer is yes, if they wind up in the hands of filmmakers blessed with authentic imagination rather than serviceable technical chops.
  6. 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.
  7. Stretched across nearly two hours, it tells a story that would have been adequately laid out in a 30-second television spot.
  8. 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.
  9. It’s exhausting. It’s also not particularly funny or engaging.
  10. Ironically, When the Game Stands Tall isn’t about keeping gridiron glory in perspective, but about blowing it out of proportion.
  11. Just a series of familiar scenes unfurling toward an inevitable conclusion.
  12. 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.
  13. There’s some fun to be had, as long as your idea of fun includes being grossed out.
  14. 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.
  15. A bucolic sex comedy in which Nicholson the director indulges Nicholson the star an orgy of coy monkey-shines in the role of a scruffy outlaw who enters into a marriage of convenience with a demure young woman who owns a ranch and a goldmine - expires right before your eyes from a terminal case of the feebles. Goin' South is the most flat-footed comedy to collapse on the screen since Nickelodeon.
  16. 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.
  17. Stoker plays out like a Kabuki “Macbeth”: gallons of style slathered on a story you already know by heart.
  18. 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.
  19. 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?
  20. Though Kidman delivers a workmanlike performance, the story manages to be soppy and ploddingly dull, told via a screenplay that drives home the fact that it’s not really about momentous events, but momentous feelings.
  21. It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
  22. After paying good money to take your family to see this film, you may be dealing with some anger-management issues of your own.
    • Washington Post
  23. 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.
  24. Anyone much taller than a Smurf may turn blue long before its 81 minutes are over.
  25. Director John H. Lee isn’t big on John Le Carré-style intrigue and introspection. (The dialogue comes in only two flavors: blustering and sentimental.) He’s better at the shootouts and chase scenes, which are loud, lively and well-choreographed, if sometimes outlandish.
  26. 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.
  27. 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.
  28. Even viewers who are mildly diverted by the whodunit angle are unlikely to find themselves emotionally engaged in the outcome.

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