Washington Post's Scores

For 6,935 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: 59
Highest review score: 100 A Simple Plan
Lowest review score: 0 Tideland
Score distribution:
6,935 movie reviews
    • 67 Metascore
    • 30 Critic Score
    It's an uninspired blend, integrating the boys from "Porky's" and the girls from "Foxes" into a vehicle resembling the worst of "American Graffiti" and the best of "Rock and Roll High School." [13 Aug 1982]
    • Washington Post
  1. A special-effects extravaganza that uses the barest of excuses to bring these characters together.
  2. A punky, futuristic effort by Jean-Pierre Jeunet and Marc Caro, it is a tasteless variation on "Sweeney Todd" set geographically near the border of Terry Gilliam's "Brazil."
  3. Not good enough to qualify as classic Gothic horror, not nearly fun enough to qualify as great B-movie camp.
  4. The movie comes across as a political science course videotape rather than a movie to fully engage a general audience.
  5. Like Nate, we are mere Notties. And we are supposed to feel oh-so privileged for getting to watch Paris through the glass.
  6. At its worst (and this is where Made of Honor comes in), it can leave you with a bad taste, not just in your mouth but in your soul.
  7. A nasty, formulaic and unforgivably obvious procedural.
    • 50 Metascore
    • 30 Critic Score
    Iranian American director Cyrus Nowrasteh, co-writing with wife Betsy Giffen Nowrasteh, has amplified the basic elements of Suraya's story into the worst kind of exploitive Hollywood melodrama, presented under the virtuous guise of moral outrage.
  8. A few minutes of inspired lunacy aside, The Yes Men is largely a case of the same old preachers preaching to the same old choir.
  9. Still, well-intentioned sappiness is something we can deal with; the lack of any genuine dramatic conflict is a more damaging shortcoming.
  10. Simply painful to watch as the doomed vehicle it's trapped in comes whistling toward a fiery crash landing.
  11. 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.
  12. This ethnic family sitcom thing is rapidly turning into wearisome cliche, and American Chai doesn't hold a candle to either "Beckham" or "Greek Wedding."
  13. This is a one-note deal, and it doesn't take long before you want to, well, just move out and leave these characters in their rent-controlled limbo.
  14. Director Howard is so mesmerized by the flames, he squirts formulaic lighter fluid over everything. A conflagration of hyped-up movie cliches, courtesy of George Lucas's Industrial Light & Magic special effects shop, scalds your face.
  15. We're really celebrating Hollywood's freedom to create biographies of anyone, no matter how high or low on the social ladder, and still come up with the same banal characteristics, messages and conclusions. In this sense, The People vs. Larry Flynt doesn't champion, so much as squander, freedom of speech.
  16. 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.
  17. 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?
    • 37 Metascore
    • 30 Critic Score
    A kind of cinematic analogue of the Iran-Iraq war: It's overlong, it's hard to tell which one's the bad guy, and it's filled with lots of senseless carnage on both sides.
  18. It's in these vignettes that Away We Go begins to feel less like an authentic exploration of identity than a condemnation of the very community the couple pretends to crave. No one, it turns out, is good enough for Burt and Verona.
  19. 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.
  20. Obstreperous, male-bashing pain in the patoot.
  21. Desperation is the project's principal quality, characterizing everything from the misfiring jokes to the surprisingly distinguished cast.
  22. An overwrought gangster fable.
  23. The story is more undead than all of these revenant shufflers. And the orgy of gore and home-engineered special effects doesn't make up for the shortfall.
  24. Big, dull and empty -- nobody associated with this production appears to have thought hard about storytelling.
  25. It's saying something when Tom Arnold's performance is among the movie's highlights.
  26. A film that, in attempting to ridicule the Bush administration, finally just settles for being ridiculous itself.
  27. It's a glossified, cluttered parody of itself. Almodovar is no longer a burlesque auteur. He's a repeat offender.

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