Washington Post's Scores

For 6,843 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:
6,843 movie reviews
  1. What it suffers from most is the sense of offhand storytelling that lies halfway between creative laziness and cost-cutting sloppiness.
  2. If, at odd moments, The Rock is better than tolerable, it is usually because of its stars.
  3. Crazy? Crazy is too mild a word by far to describe the twisted worm at play inside the skull of the Canadian director David Cronenberg -- And that craziness is given full vent in the vomitorium called eXistenZ.
    • 42 Metascore
    • 30 Critic Score
    Figgis depends on his considerable ability to evoke mood in a symphony of image, montage and music. But these scenes, watchable as some of them are (and I don't mean the Fall of Man Follies), don't accumulate into much more than abstract mush. [25 Jun 1999]
    • Washington Post
  4. Never better than fair to middling pleasant.
  5. Although it contains many visually compelling passages and some provocative moments, the movie is strangely banal and simplistic.
    • 31 Metascore
    • 30 Critic Score
    Tiresome and messy.
  6. Far too slick and manufactured to claim street credibility.
  7. A predictable and outlandishly contrived take on the Pygmalion myth.
    • 46 Metascore
    • 30 Critic Score
    Unless you're a Clint fan there's little other reason to sit through this one.
  8. The firefighting equivalent of an Army recruitment commercial.
  9. What isn't so fascinating is this movie's absurdity of motivation. No one does anything that makes sense. No one seems real. When the actual perpetrator is uncovered, there is no enlightenment as to why the killing occurred.
  10. Doesn't anyone get sick of this same old routine?
  11. Manages to make sex look like no fun at all.
  12. Chances are, after they've passed the two-hour mark, viewers will share the same collective, if unspoken, wish: Go, Speed Racer. Go.
  13. As Crossing Over makes its patronizing points, by way of two-dimensional characters and billboarded plot points, it recalls other, better movies that dealt with the same subjects far more deftly.
  14. It tries unsuccessfully to make a wry gumshoe noir out of an overarching, cross-sectional political diagram.
  15. John C. McGinley from "Scrubs" gets to strut some of his comic stuff as the deranged builder, but he's the only passable feature in a property that should be condemned.
  16. Maybe the easiest thing would be to skip the movie altogether. Godard has created such a hermetic, uncompromising world that only the hardiest cinematic spelunkers are likely to appreciate its depths.
  17. Belabored, ostentatious, overlong behemoth.
  18. The dialogue is often drowned out by engine noise.
  19. Sure, I laughed. Yes, I cried. But mostly I just wanted to throw up.
  20. The Jacket is doing nothing but sampling elements of "Jacob's Ladder," "The Silence of the Lambs" and "Memento" without offering more than hackneyed solutions, including a rather cheesy conclusion.
  21. In the translation from page to film, the life seems to have gone out of the story
  22. A movie devoted to baroque revenge would be, on its own terms, acceptable; what makes Law Abiding Citizen so risible is its humorless conviction that it's got Big Ideas at its core.
  23. Its heart is vaguely in the right place.
  24. It's zany. Actually, it's so zany it's almost creepy.
  25. Did I laugh? Yeah, I did, half a dozen times. Not a great percentage for a film with something close to 300 quote-unquote jokes.
  26. An extraordinary collective act of moral and physical courage is relegated to a backdrop for a mushy, synthetic family melodrama.
  27. But by the time Willis's character saves this considerably long day, it's filmgoers who will no doubt feel like prisoners, as a movie that promises to be a taut nail-biter devolves into the kind of silly, overblown climax parodied so beautifully by Robert Altman in "The Player."

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