Washington Post's Scores

For 6,837 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 You Can Count on Me
Lowest review score: 0 Darkness Falls
Score distribution:
6,837 movie reviews
  1. Meant to be a sleek, dark, disturbing David Cronenberg-style thriller, Olivier Assayas's film is just an annoying concoction.
  2. It's gotten to the point where Gooding's presence on a marquee practically guarantees we'll be bashing our heads against the seat in front of us. Bonk, bonk, bonk.
  3. Pytka's marginally successful at setting this gambler's fantasy against the Damon Runyonesque aspects of the horsy life.
  4. The stars of First Descent aren't particularly memorable, or even likable. At their worst, they come off as cocky, self-absorbed Peter Pans; at their best, they're sweet but shallow.
  5. Could be filed under "wacky misfire."
  6. A movie marred by a flaccid script, listless pacing, a plethora of cutesy-poo gags and Ray Romano.
  7. There's not enough story in it to fill a shoebox.
    • 62 Metascore
    • 30 Critic Score
    So chock-full of stereotypes as to be a filmic Southern Country Safari.
  8. For all its art-house posturing, for all its exploration of the taboo topic, Birth is anything but good.
  9. 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.
  10. Donkey Punch is almost humorless, and there's no wink and nudge behind the mayhem to absolve us of taking its ugly, class-obsessed subtext seriously.
  11. A film so boring, unsexy, styleless, sluggish and physically ugly that its badness seems almost intentional.
  12. Mark Childress, who wrote the screenplay based upon his book of the same name, would have been better off leaving this Southern Gothic between two covers.
  13. Nobody hits the jackpot here, certainly not filmmakers Michael and Mark Polish, whose audacious, empathic first film, "Twin Falls Idaho," showed such promise.
  14. Unfortunately, The Man makes the mistake of assuming casting is all it takes to make a good comedy.
  15. If you're mocking holier-than-thou-ness, you can't very well strike a hipper-than-thou tone.
    • 54 Metascore
    • 30 Critic Score
    Despite Stallone's bantamweight attempts to insert, like, character into the fifth Rocky, it's the same old fight with the same old round of regulars. It seems silly wasting money on actors when the same could be achieved with Muppets. Rocky has little to do except shuffle around and mutter "cute" Rocky t'ings.
  16. A train wreck of a film lying inert where the tracks of the Feel Good Line cross the Path of Good Intentions.
  17. This movie is a predictable, gruesome piece of business.
  18. The story, which features an apparently lobotomized Guy Pearce as an opportunistic explorer and hunter who learns the errors of his ways, is deeply dull.
  19. It's less a children's movie made for contemporary children than a children's movie made for people who still remember, and pine for, how children's movies were made 50 years ago.
  20. May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
  21. 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.
  22. The film's moral commentary is De Palma redux: same old Brian enjoying the peeping, bringing us into the guilt zone, then saying shame on all of us.
  23. Weitz co-directed the wonderful "About a Boy" in 2002, but in "Dreamz" -- a tediously facile satire -- his comic instincts fail him.
  24. An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
  25. Isn't really a movie, it's only impersonating one.
  26. It's just a gimmick, right down to its Washington release date.
    • 38 Metascore
    • 30 Critic Score
    Weakens, dilutes, disinfects and otherwise undermines the legacy of Tobe Hooper's 1974 original.
  27. It grinds on and on without mercy. You're in the cross hairs. There is no escape. Where is that Secret Service when you need it?

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