Washington Post's Scores

For 7,516 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Hoosiers
Lowest review score: 0 Armageddon
Score distribution:
7516 movie reviews
  1. There’s a story here, all right, but it’s a heartless and bitter one.
  2. The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
  3. People don’t go to Sparks movies for subtlety; they go to warm their hearts by bearing witness to true love. Of course, that requires a story that rings true. In The Longest Ride, authenticity is in short supply.
  4. The problem is quantity. There are so many action sequences related to so many story lines that midway through an epic fight, you might find yourself wondering what exactly started this particular battle and what the objective is other than destruction for the sake of it.
  5. Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
  6. A lugubrious cloud of mediocrity sets in early in Freeheld, a dreary dramatization of a pivotal gay rights case that paved the way for marriage equality.
  7. As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
  8. Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
  9. Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
  10. Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away.
  11. Little Boy is a as phony as a game of three-card monte.
  12. The film is probably of interest only to those viewers who, like Gondry himself apparently, already have an obsession with Chomsky.
  13. "Dragon" was apparently meant to be a big, rousing musical comedy-fantasy, but it's staged and photographed without musical-comedy energy, flair or coordination. [17 Dec 1977, p.D7]
    • Washington Post
  14. Knight of Cups may want to be understood as the portrait of a man plunging beneath the veneer of modern life, but it can just as easily be perceived as the self-portrait of a filmmaker in his own Versailles, letting himself eat cake and having it, too.
  15. Ultimately, Silva’s uneven command of tone undoes whatever goodwill his actors have managed to generate. They — and we — deserve much better than this.
  16. The aptly subtitled Night at the Museum: Secret of the Tomb is a blast of dead air and mummified humor.
  17. The real trouble with Transcendence is that it just isn’t all that scary — at least not in the way that it wants to be.
  18. See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
  19. Everything is needlessly tangled and bewildering.
  20. You can make a movie that’s both sweet and crass; just look at Judd Apatow’s comedies. But the mix doesn’t work here, maybe because both the vulgarity and the cheesiness are so amped up.
  21. Safe Haven is one of those Valentine’s Day confections that satisfy your sweet tooth until you get to their weird, off-putting center. The problem with movies is that you can’t put them back in the box.
  22. We don’t expect a James Bond film to be deep, but at least we should be dazzled by the seductive gloss of its surfaces. Aside from that stunning opening sequence, this installment feels overcompensating and dutiful.
  23. Although Lee briefly engages in some fascinating ideas linking the vampire’s existence to cultural empowerment, preservation and survival, he squanders that potential in leaden soft-core cliches that usually wind up with him ogling the female form.
  24. This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
  25. Capital is too cynical to ever really suggest that redemption is possible. Not that anyone watching will even care.
  26. This summer Bullock is in the driver's seat of The Net, a sort of chase movie on the information highway from veteran producer-turned-director Irwin Winkler, and not only is the film a comedown, it's a far less flattering showcase for her talents as well.
  27. If for some reason you find yourself in a theater watching the martial arts adventure Man of Tai Chi...feel free to take a nap during the non-fight sequences.
  28. Tusk seems to harbor no grander ambitions than to create a gross-out gag.

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