Washington Post's Scores

  • Movies
  • TV
For 6,700 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 About Schmidt
Lowest review score: 0 Serving Sara
Score distribution:
6,700 movie reviews
  1. The film degenerates into an overly simplistic satire -- with moon-worshiping, Guatemala-visiting, lesbian aborters on one side, and fetally obsessive, meat-eating, gun-toting Jesus worshipers on the other.
  2. The humor's a tad too raunchy for the kids, and the predictable plot won't win over any of the parents.
  3. Amusing premise, not-so-amusing execution.
  4. Humorless, charmless and flat.
  5. The film has no discipline, but that's okay because it has no suspense, either.
  6. Lacks "spark."
  7. Stumbles mindlessly in all directions.
  8. An overwrought gangster fable.
  9. Wes Craven, who started the "Nightmare on Elm Street" series, should know a lot better.
  10. Sure, I laughed. Yes, I cried. But mostly I just wanted to throw up.
  11. Where there was effortless cool in the first movie, there is nothing but manufactured posing here.
  12. The Jacket is doing nothing but sampling elements of "Jacob's Ladder," "The Silence of the Lambs" and "Memento" without offering more than hackneyed solutions, including a rather cheesy conclusion.
  13. With no real comedy to enjoy, it's torture to watch Diesel undergo a predictable change from emotionless soldier to loving family man. Makes you want to spit out your pacifier in disgust.
  14. But by the time Willis's character saves this considerably long day, it's filmgoers who will no doubt feel like prisoners, as a movie that promises to be a taut nail-biter devolves into the kind of silly, overblown climax parodied so beautifully by Robert Altman in "The Player."
  15. It feels like a retread of several better movies, with a nastier, more bitter edge.
  16. This romantic melodrama ... doesn't even get to first base.
  17. A syrupy Italian power ballad along the lines of the ones on the movie's soundtrack. Its tune is mawkish, bombastic but, in the end, not especially resonant.
  18. Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.
  19. Illustrates the law of returning diminishments.
  20. Give Woody Allen credit for ambition. Failing at one movie wasn't enough. Nearly anyone can do that; it happens all the time. He's chosen to fail at two simultaneously.
  21. The movie never transcended its elaborate production work to achieve an independent reality.
  22. A predictable and outlandishly contrived take on the Pygmalion myth.
  23. McConaughey remains more buffed than compelling. He's not helped by a two-hour convolution of episodes that are too busy imitating other, better movies.
  24. It's almost too dull to pan.
  25. For all its stylishness, verve and moments of visual poetry, the relentlessly punishing slapstick and overall cruel tone left me cold.
  26. In reality, Eros is a letdown, a collection of bagatelles that, with one exception, fails to live up to its promise.
  27. As a director, Solondz seems to have his own locked-in fate -- to favor caricature over compassion -- and his movies are the worse for it.
  28. It starts with a bang and ends with a whimper.
    • 47 Metascore
    • 30 Critic Score
    It is flat-footed, uninspired and disjointed from start to finish, a glaring disservice to the men who played the game.
  29. Never better than fair to middling pleasant.

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