Washington Post's Scores

For 7,486 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The End of the Tour
Lowest review score: 0 Spice World
Score distribution:
7486 movie reviews
  1. A flawed but funky adventure.
  2. Never was the case for psychotropic medication more acute than in Jovovich's performance.
  3. Feels like a hazy high that takes too long to shake.
  4. Volckman and Miance are undoubtedly superb draftsmen; what they need is a writer of comparable skill.
  5. Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
    • 56 Metascore
    • 60 Critic Score
    The film is best when Gekko and Fox power it up, but Wall Street falls into the red when Stone's heavy-handed moralizing takes over.
  6. A well-mounted, macabre seriocomedy with passing punchlines. And for about half the movie, it's compelling stuff.
  7. In the end Monsieur N. could use a little less cloak-and-dagger and more of what made "The Emperor's New Clothes" work, i.e., heart.
  8. Despite the unforced humor and honesty in the performances of its young and talented cast, The Wood spends too much time wallowing in arrested adolescence to make you feel you've traveled anywhere.
  9. A well-crafted story with a unique voice. But its literary gifts are outweighed by its pictorial prosaicness. Dimming the screen in every shot is the unmistakable shadow of the page.
  10. Unfortunately, the story, adapted by Anne Rice from her best-selling novel, sucks at the neck a little too long. A 23-minute snipping from this 123-minute movie would have done wonders.
    • 72 Metascore
    • 60 Critic Score
    The film-which at 112 minutes, ends up ramblin' like its subject-does provide compelling rehab for an underrated artist.
    • 21 Metascore
    • 60 Critic Score
    Contains about enough laugh-out-loud sight gags and non sequiturs to justify what it demands of a viewer's time and money.
  11. An easy-on-the-sensibilities family film, Eddie Murphy practically assumes the easygoing manner of Mister Rogers, a character he used to wickedly lampoon on "Saturday Night Live."
  12. Pi
    In the end, it's primarily a brain teaser, obtuse and ultimately limited in its emotional impact.
  13. Unlike Hollywood's hygienic undersea dramas, Das Boot graphically depicts the nasty intimacy of a long mission.
  14. Sketchy but often entertaining.
  15. In the end, however, when all Pacino's demons are bared, they don't add up to the poignant punchline you were set up for. The movie seems to have two or three finales too many -- a disturbing trend in all too many films of late.
  16. The movie is content to be a kind of middling expression of human decency: It's never either terribly funny or terribly dramatic, but Latifah's quiet solidity and common sense root it in ways that larger, louder pictures never achieve.
  17. Ultimately, though, the movie never transcends the limitations of its Hemingwayesque, men-with-men attitudes.
  18. This is not a fantastic movie. But there's more to it than just an MTV-slickified "Midnight Express" starring two young, photogenic stars.
  19. The Perrier of dumb-and-dumber movies, an effervescent idiot's delight that burbles from the wellspring of silliness inside star Adam Sandler's head.
  20. Lawrence's material runs between mediocre and offensive, and then he rescues it with his physical humor. He's at his best when he lets his face or inflection do the talking.
  21. He got too much movie. That's the scoring total on Spike Lee's He Got Game, which ultimately must be judged a mild disappointment.
  22. All the King's Men hasn't been directed so much as over-directed, although the result, when you make an effort to filter out all the film school pyrotechnics, is an honorable run at Robert Penn Warren's classic novel.
  23. Despite this tale's surface sheen and propulsive momentum, it never transports one very far.
  24. Howard's film, like McConaughey's performance, is unassuming, ingratiating and a little rough around the edges.
  25. A superbly heartfelt drama for six diverse actors, it is as colorfully striated as its majestic namesake - and almost as wide. The film's depth is another matter altogether.
  26. Ultimately, the movie's biggest crime is its inability to convey the delicate, damaged texture of Kahlo's life, but also the triumph of her will over intimidating defeat.
  27. Marvels of animation abound in Monsters, Inc. -- when it comes to irreverent humor and real heart, Monsters doesn't quite measure up.
    • Washington Post

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