Washington Post's Scores

For 7,516 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 Hoosiers
Lowest review score: 0 Armageddon
Score distribution:
7516 movie reviews
  1. The region's stark beauty and the filmmaker's eye for composition compensate somewhat for its predictability and obvious if misguided feminist agenda.
  2. Throughout, Garner retains a permanent grimace, as if persuasive acting can be achieved by contorting cheek muscles and pouting lips. It's not just depressing to watch; it's tiring. We want to tell her to relax -- for our own relief.
  3. Forgettable the instant it strafes your retinas.
  4. None of the killings has any suspense, and the capital I irony -- that these people make their living selling death in small mechanical packages and munitions to the world and are now being hunted down by the same devices -- never begins to produce any results. Put it on a level with a mid-series "Halloween."
  5. A mite sluggish.
  6. [McGowan's] serene psychopathology is the movie's most consistent pleasure, and to see her is to both love and fear her.
  7. One of the most eagerly awaited cinematic projects of 2006, which may be why it lands with such a curious thud.
    • 47 Metascore
    • 40 Critic Score
    Take the cast of 1978's "Animal House" and 1984's "Revenge of the Nerds," toss them on a desert island, watch them breed and enroll their raucous, kvetching offspring at a college for rejects. A fluffy teen comedy, Accepted gets annoying fast.
  8. For horror fans who appreciate a bit of craft with their second-rate experiences -- Paul Haslinger's fear-mongering score is terrific for what it's worth -- this might merit a future late-night rental.
  9. In this film, Nolan seems overwhelmed by the budget, the egos of the stars, the thinness of the script, and he doesn't impose much personality on the picture. It's all Pacino.
  10. Keeps you hanging on until the very last moment, not because it's scary, but because you can't believe that's all there is to it.
  11. In the end, Stage Beauty is in over its mediocre head.
  12. It feels old, tired and given-up-on, maybe three drafts shy of minimal production level.
  13. A lot of it is low, crude, admittedly comic in the rudest positive sense, which involves a lot of falling down to humorous effect.
  14. Nobody likes a fixed fight, except the backroom boys making the deal. Which is why The Break-Up may have its share of laughs, but isn't much fun.
  15. There's so little authenticity between them, it destroys the story's most crucial element: the love between father and daughter. And finding the gold becomes our only reason to watch.
  16. He's slightly more articulate than usual, but the lines still fall from his lips like beaten boxers to the mat. Not that it much matters, given the constant mayhem.
  17. Even Thompson, the one you look forward to watching, is disappointing.
  18. Cumming manages to keep the film's pandering in check with every wicked raised eyebrow.
  19. Uneven, not particularly inspired comic thriller.
  20. The movie, a frenetic, explosive experience full of car crashes and gun battles, is original and exhilarating. But more often, it's so overwhelming, it'll make you want to watch "Die Hard With a Vengeance" for peace and quiet.
  21. Although Rohmer's adaptation, shot in German with a cast of actors drawn from the German stage, is pedantically faithful to the letter of the original - almost word-for-word as well as scene-for-scene - it substitutes a style that seems woefully wrong. Rohmer's approach is too static and repressed to release the comic ironies Kleist perceived in the very premise of an honorable man's lapse leading to an honorable woman's distress and built into his brilliantly objective story-telling style. [21 Jan 1977, p.B15]
    • Washington Post
  22. It could hardly be called rip-roaring. I should report that it drives about a quarter of the audience out of the theater before it is half over. That's because it's slower than molasses in Siberia.
  23. My only question is this: In the context of these by-the-book pratfalls, is it funny enough?
  24. Actually, any fun you might encounter in Recall can be traced, most often, to director Verhoeven, who injects some of his "Robocop" camp into this mega-dumb project.
  25. 21
    The story may be based on real events, but most of it feels patently false.
  26. Suffers from all the excesses of the genre: gunfights that go on and on and on, a plot that is almost incomprehensible.
  27. Even with its cyberspace connection, the story comes across as flat and tired, merely a pretext for the filmmakers' occasionally dazzling but ultimately numbing special effects. The world of Virtuosity may be spanking new, but the ideas are yesterday's news.
  28. Makes the mistake of including too sweeping a scope in too small a movie and with too few resources.
  29. Some routines are funny, it must be said. But more often than not, you'll be groaning with painful recognition rather than actually laughing.

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