Washington Post's Scores

  • Movies
  • TV
For 6,604 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Our Song
Lowest review score: 0 Broken Arrow
Score distribution:
6,604 movie reviews
  1. Feels like a manufactured Asian "Chocolat," which drives the label 'art house movie' even further into mainstream banality.
  2. The satirical edge has been dulled in a film that is dominated, and ultimately swamped, by its star's mannered, pixilated performance.
  3. The movie's signal flaw -- that is, other than its degeneracy, its sloppiness, its love of dark things and pretty stains and arterial spray patterns -- is Moseley as the demonic Otis.
  4. If, at odd moments, The Rock is better than tolerable, it is usually because of its stars.
  5. 9 Songs inadvertently proves just how limited experimentation for its own sake can be.
  6. This is nothing but a dare-to-be-terrible movie.
  7. The dialogue is often drowned out by engine noise.
  8. As long as it stayed mainstream dirty it was okay, but when it got into perversions the American Psychiatric Society hasn't even named yet, it left me behind.
  9. It's not Deuce's satisfied clientele, but the audience, that gets the shaft.
  10. It's just so darn annoying to watch this attractive, seemingly smart woman throw her life away for some (admittedly rather hot) sex in the greenhouse.
    • 45 Metascore
    • 30 Critic Score
    It just rings false, like having Hannibal Lecter take up vegetarianism.
    • 26 Metascore
    • 30 Critic Score
    A poor man's "Lords of Dogtown," substituting hard-core motorcycle racing for extreme skateboarding and featuring a young cast of television-bred actors.
  11. Not terrible so much as terminally silly.
  12. Tailored for the readership of Teen People magazine and about as thought-provoking as the average 500-word celebrity profile.
  13. The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
  14. Let's blame it on poor Robin Williams, who tries so desperately to be likable, whimsical, lovable, smart and funny all at once that he just wears you out. Blame it also on the behind-the-scenes engineers at Disney who think that effects are more important than story and character.
    • 47 Metascore
    • 30 Critic Score
    This is billed as a romantic comedy, but it's much more boring than funny.
  15. Unfortunately, The Man makes the mistake of assuming casting is all it takes to make a good comedy.
  16. This unusual convergence of stars doesn't amount to much.
  17. Soccer needs this movie like Georgia needed "Deliverance."
  18. Outlandish, uneven, preposterous and often maddeningly morbid.
  19. Should we really be so moved and uplifted that a horny, ignorant young man begins to join the human race? Not when our voice of conscience is an off-screen filmmaker issuing pseudo-profound, and ultimately banal, pronouncements about the true nature of love and seduction.
  20. G
    For anyone to enjoy this starchy, contrived exercise in vanity and product placement, it's best not to have read the book. In fact, it's best not to have read ANY book.
  21. It's a movie with the exciting parts cut out.
  22. The fact that there's nothing wrong with it -- that there's nary a scenic detail or scrap of dialogue or performance that isn't utterly on the nose -- is precisely what's wrong with it.
  23. It's such a great story, you have to ask two questions: Why didn't they make this movie before? And why did they make it this way?
  24. May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
  25. So single-minded in its reach for fantasy, it becomes the genre's evil opposite: banality.
  26. There's no question the movie's entertaining. But the blatantly schematic depictions of black and white, liberal and hawk, and other tiresome dichotomies turn A Time to Kill into the moral equivalent of a cockfight.
  27. The fight between good and evil feels fixed in favor of Hollywood redemption.

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