Washington Post's Scores

For 7,407 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Man on Wire
Lowest review score: 0 They Live
Score distribution:
7407 movie reviews
  1. Mortdecai succeeds more as a talky farce than an action-packed adventure. But it would be even better if Mortdecai weren’t about Mortdecai at all.
  2. Bening and Harris are great actors, and they fill their roles as completely as they can, given the limitations of the soggy and implausible script by Matthew McDuffie and director Arie Posin.
  3. There are goofy, primal pleasures to be had in the first two-thirds of the film. But Beyond the Reach exceeds even its humble grasp in the final act, collapsing in a clatter of blockheaded manhunter-movie cliches. Crazy is one thing, but dumb is unforgivable.
  4. The Signal has visual style to burn. And it takes good advantage of the current state of paranoia arising from our surveillance culture and the pervasive mistrust in government. On paper, this sounds like a good formula. If handled well, it could really pay off.
  5. Pan
    Pan doesn’t deliver on its own promise. The movie doesn’t so much enhance our understanding of the flying boy as it demonstrates how little thought went into crafting his back story.
  6. In the world of Freedom, slaves and the people who help them are Christians, and the bad guys don’t believe in God.
  7. This sharp left turn takes the films’ mythology in strange and not entirely satisfying new directions, including a crazy time-travel element.
  8. Overplotted, undercooked and extremely well-dressed, The Dressmaker has style to burn, but it has a mean streak as wide as the Outback.
  9. There’s nothing sly about writer-director Le-Van Kiet’s scenario.
  10. The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
  11. People don’t go to Sparks movies for subtlety; they go to warm their hearts by bearing witness to true love. Of course, that requires a story that rings true. In The Longest Ride, authenticity is in short supply.
  12. The problem is quantity. There are so many action sequences related to so many story lines that midway through an epic fight, you might find yourself wondering what exactly started this particular battle and what the objective is other than destruction for the sake of it.
  13. Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
  14. A lugubrious cloud of mediocrity sets in early in Freeheld, a dreary dramatization of a pivotal gay rights case that paved the way for marriage equality.
  15. As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
  16. Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
  17. Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
  18. Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away.
  19. Little Boy is a as phony as a game of three-card monte.
  20. The film is probably of interest only to those viewers who, like Gondry himself apparently, already have an obsession with Chomsky.
  21. "Dragon" was apparently meant to be a big, rousing musical comedy-fantasy, but it's staged and photographed without musical-comedy energy, flair or coordination. [17 Dec 1977, p.D7]
    • Washington Post
  22. Knight of Cups may want to be understood as the portrait of a man plunging beneath the veneer of modern life, but it can just as easily be perceived as the self-portrait of a filmmaker in his own Versailles, letting himself eat cake and having it, too.
  23. Ultimately, Silva’s uneven command of tone undoes whatever goodwill his actors have managed to generate. They — and we — deserve much better than this.
  24. The aptly subtitled Night at the Museum: Secret of the Tomb is a blast of dead air and mummified humor.
  25. The real trouble with Transcendence is that it just isn’t all that scary — at least not in the way that it wants to be.
  26. See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
  27. Everything is needlessly tangled and bewildering.
  28. You can make a movie that’s both sweet and crass; just look at Judd Apatow’s comedies. But the mix doesn’t work here, maybe because both the vulgarity and the cheesiness are so amped up.
  29. Safe Haven is one of those Valentine’s Day confections that satisfy your sweet tooth until you get to their weird, off-putting center. The problem with movies is that you can’t put them back in the box.
  30. We don’t expect a James Bond film to be deep, but at least we should be dazzled by the seductive gloss of its surfaces. Aside from that stunning opening sequence, this installment feels overcompensating and dutiful.

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