Washington Post's Scores

  • Movies
  • TV
For 6,604 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 Chicken Run
Lowest review score: 0 The King and I
Score distribution:
6,604 movie reviews
  1. For all its playfulness, the new RoboCop can’t help but lack the novelty of the original’s jolting mixture of dumb-smart irony and visceral pulp.
  2. The movie feels like Nicholas Sparks fan fiction.
  3. When the film isn’t sloppily directed, it’s a series of lazy filmmaking tics, including fetishistic slow-motion shots of blood, water and sweat, as well as sundry dismemberments, impalings and decapitations.
  4. By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy’s Thanksgiving Day Parade floats. They’re just as lifeless and inexpressive, too.
  5. The self-conscious affectation of the film would be funny, were it not so smug.
  6. Salva certainly gets points for creative repurposing. Much of what transpires in Dark House has been seen before, just not all in the same movie.
  7. Some of the dancing really is spectacular. Scenes from the competing clubs include impressive choreography and gravity-defying moves. If only the poorly delivered, trite dialogue and predictable plot aimed as high.
  8. Animated in form but completely listless in content.
  9. [A] strained, clunkily orchestrated and dismally retrograde film.
    • 24 Metascore
    • 25 Critic Score
    The camera style is grotesquely overwrought, a relentless exercise in technique for technique's sake. It's all here, folks: fancy wipes, expressionistic angles, quick-cut close-ups, stylized backlighting, camera moving in endless illogic. It's as if a 15-minute history of film technique had been compiled by a psychotic. [19 Mar 1986, p.B9]
    • Washington Post
    • 25 Metascore
    • 25 Critic Score
    Fox's performance is a shadow of his "Future" self, and the rest of the cast -- everyone from teeny-boppers to wise guys to baffled adults -- are equally benumbed. You really can't blame them, what with a screenplay by Joseph Loeb III and Matthew Weisman that relies on "losing control of his bodily functions" for its biggest laugh. [24 Aug 1985, p.C6]
    • Washington Post
  10. The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
  11. A film that reduces everything and everyone in its well-worn path to a pretentious trope and, in its final Grand Guignol moments, high camp.
  12. At every turn, the movie is less moving than the real-life events that inspired it.
  13. The November Man turns out to be the classic August movie: a triumph of competence over imagination and schlock over taste. Its highest value lies in reminding filmgoers that fall can’t come too soon.
  14. With a bench this deep, This Is Where I Leave You should have been a comedy of contemporary manners as wickedly funny as it is poignant. In the hands of Levy, it’s become just another forgettable example of low-stakes Hollywood hackwork at its most bland, banal and snipingly belligerent.
  15. What "Wild at Heart" feels like is a kind of housecleaning -- a disjointed collection of images and odd snatches of ideas that the director couldn't make room for anyplace else. They have no context, and as a result, no power to thrill or disturb.
  16. A coarse, witless and stunningly violent black comedy.
  17. If this sounds like "Tootsie" with a ball, well, it is. Screenwriter Bradley Allenstein should be hauled up in writer's court for his shameless cribbing of that far superior comedy. Someone call a foul.
  18. How much you enjoy this movie depends on how funny you find Sandler talking out the side of his mouth with a gravelly squawk -- for the entire movie.
  19. If there's one piece of wisdom to be culled from this botched project, it's this: No one gets Carter.
  20. A rambling wreck from computer tech and a helluva souvenir –- that is, for those interested in artifacts representing the American movie at its worst.
  21. I'm not sure if it was that or the cloying script, but after a couple of hours of spinning around listening to this drivel I felt like I was going to barf.
  22. It's not Christmas that's being stolen here. It's the spirit of Dr. Seuss.
  23. Folks, I really feel that seeing this one for you is the movie critic's equivalent of jumping on the grenade to save your lives. Send me medals.
  24. Essentially an extended cutesy session.
  25. Propelled not by characters but caricatures.
  26. Is Meg Ryan going to play the goofy romantic gal forever?
  27. I'd rather sit in bumper-to-bumper hell on I-495 for two hours than get caught in Traffic again.
  28. A field goal, not a touchdown.

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