Washington Post's Scores

  • Movies
  • TV
For 6,613 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Hours
Lowest review score: 0 American Outlaws
Score distribution:
6,613 movie reviews
  1. Where is the suspense part? There is no suspense part. Suspense demands clarity of motive and action, and this screenplay never provides it.
  2. Weitz co-directed the wonderful "About a Boy" in 2002, but in "Dreamz" -- a tediously facile satire -- his comic instincts fail him.
  3. Though Hard Candy clearly believes pedophiles should be chopped into little pieces and buried in an unmarked grave, its only purpose is exploitative. Sure, it's a cautionary tale for all those sicko wolves out there, but it's nothing more than an unabashed lurk-and-dread fest.
  4. Instead of gold-medal-winning, last-minute heroics, the movie weirdly becomes about the scandal of arbitrary gymnastics judges. Is it a movie or an episode of "Real Sports"? It veers into fresh territory but not dramatically satisfying territory.
  5. RV
    Why did director Barry Sonnenfeld take on this project? Just to sully a fine comedic resume that includes "The Addams Family" and "Get Shorty"? And one last one: Which one of these levers do you push to send the RV careering off the mountain for good?
  6. The mawkishness is ultimately too formidable.
  7. This adaptation of the underground comic strip is mostly unfabulous.
  8. Artistically, You, Me and Dupree is a mess. Technically, it's an abomination. Spiritually, it's a void. Commercially, it'll probably be a big hit.
  9. If only Shadowboxer had gone for more than an unwavering commitment to imitate better movies, it might have been one for the cult shelves at the video store. Right now, you'll be lucky if you find it in the giveaway bin.
  10. A grisly, often cynical piece of work whose joyless, aggressive spirit is made even less appealing by its soulless visual style.
  11. This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.
    • 61 Metascore
    • 30 Critic Score
    These actors move with the labored blocking of a high school play.
  12. Creepy, creepy, creepy -- and not in a good way.
    • 43 Metascore
    • 30 Critic Score
    What's the difference between Feast and, say, "Alien" or "The Texas Chain Saw Massacre," all of which share the same plot? Patience. Feast lacks it.
  13. Rarely has an actress exuded such blank nothingness as Simpson, a one-woman vapid delivery system who sucks the energy and joy out of every scene she's in, like some freakishly well-endowed black hole.
  14. Sadly, this movie is a far cry from the atmospheric, even thoughtfully crafted original, which made you truly scared for the unkempt, everyman victims. But this latest version, though just as grisly, is literally hackwork, and stars a forgettable, airbrushed cast of slaughterees.
  15. Perhaps as a publishing phenomenon the concept works, but on-screen it's pretty dull, with good actors in bad roles and bad special effects.
  16. This feels like a cramped, TV-style retelling, with small groups of people, no special effects, in some ways almost cheesy.
  17. The two main characters are so shallow and self-involved -- not to mention the friends, family members and sundry apparatchiks they lug around with them -- that the two hours of Flannel Pajamas begin to feel like real time.
  18. I literally did not count a single laugh in the whole aimless schlep, except for the hucksters who made it, on their way to the bank.
  19. After 9/11, few of us look at terrorist acts casually. It's insulting to watch this grandiloquent pornography, using shock value and Hollywood cliche to evoke poignancy.
  20. A good-natured but failed experiment in meeting cute -- indie-movie style.
  21. Winds up answering the question of what "Shrek" hath wrought, and between its plastic-looking visuals and cynical attitude, the news isn't good. Lacking the genuine wit and humanism of that film and any number of forebears, this one deserves its dumpin'.
  22. What the filmmakers try to play for laughs -- a mom and her daughters chatting about orgasms while shoe shopping -- isn't funny, it's creepy.
  23. But when mechanical plots are a drama's main engine, we look for something else to divert us, preferably good comedy. That's in short supply, unfortunately. And it's no fun to sit through the movie's retread Woody Allenisms.
  24. Much of the movie -- which Murphy wrote with a small posse of collaborators -- is taken up with the torturously dull, not to mention unbelievable, romance between Norbit and Kate (a disappointingly lackluster Newton) and the tedious agenda of Cuba Gooding Jr. as a schemer-manipulator.
  25. 300
    It's kind of a ghastly hoot, and while I suppose it does no harm, it also contributes nothing. It's a guilty unpleasantness.
  26. What it possesses in heart and goodwill, it sorely lacks in narrative skill and artistic depth.
    • 66 Metascore
    • 30 Critic Score
    This solo project by first-time producer/director Edward James Olmos makes itself out to be hard-hitting, social commentary. But it's too longwinded and cliched to deserve that description. [13 Mar 1992, p. N47]
    • Washington Post
    • 56 Metascore
    • 30 Critic Score
    Opportunities for dramatic tension, comedic effect, erotic energy, even just flat-out weirdness -- all are squandered by Brocka and the actors in a haze of blandness that gives the film all the edge of a particularly gay Gap commercial.

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