Washington Post's Scores

  • Movies
  • TV
For 6,724 reviews, this publication has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% 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 Le Havre
Lowest review score: 0 Broken Arrow
Score distribution:
6,724 movie reviews
  1. We're only a little spooked, only a little amused and, by extension, only a little entertained.
  2. A conceptual train wreck, with half an idea scattered like disaster debris all over the screen.
  3. This time, the jokes about dead animals, gunk in the hair, incest and all other taboos are flatter than the road kill Gilly finds himself picking up for a living.
  4. Poor Roberts, pretty and perky as the day is long, hasn't a hoot in hell of bringing Julianne off. She's simply not actress enough, she doesn't have that suppleness that would enable her to sell the complexity of emotion, the jealousy, the irrationality, the meanness and the intelligence.
  5. Very much like sex. On second thought, make that bad sex. Actually, sexual assault is more like it. It will leave you feeling used, bruised, violated, mistrustful and unclean.
  6. It plays like a soft-core-porn potboiler left over from the 1970s about a hot vampire chick.
  7. In this case, the adage would go something like "material, material, material," also known as the Nicolas Cage Rule: Good acting can't overcome bad taste.
  8. The makers of Miss Congeniality 2 have violated the cardinal rule of Sandra Bullock cinema. They turned her into someone unlikable.
  9. Sahara is a mediocrity wrapped inside a banality, toasted in a nice, fresh cliche.
  10. It doesn't seem like overstating things to say that Eros becomes steadily worse as it goes along.
  11. So primitive, it must have been written in lizard blood on animal skin.
  12. Never was this funny a comedian in this horrible a movie.
  13. If its made-for-TV sensibility explains its chaotically blobby shooting style, it doesn't clarify a plot so painfully padded that it looks for laughs in strange digressive asides regarding bratwurst and coffee.
  14. Has all the energy and spontaneity of a bowl of waxed fruit. If watching "Dogtown and Z-Boys" was tantamount to witnessing history itself, watching "Lords of Dogtown," which Peralta wrote, feels more like watching a stiff, meticulously choreographed reenactment.
  15. The result is astoundingly boring and, frankly, tedious to sit through.
  16. Miyazaki, like an evil sorcerer, has plucked the heart out of Jones's story and left it there to die.
  17. After watching this movie, which stars Robert De Niro, Harvey Keitel, Kathy Bates and Gabriel Byrne, I was moved only to find my own bridge to leap from.
  18. Baby, when you walk out of a movie thinking, "Say, that Heather Locklear was pretty darn good," the movie's got some problems!
  19. Here, by its cooperation with the Disney factory, NASCAR says it's also warm 'n' cuddly, and that if you love your magic bug, it'll repay you with victory. Why does it allow itself to be co-opted by a story that diminishes the skills, experience and talent it takes to win?
  20. If you find yourself at "The Island" I have only three words of advice: Vote yourself off.
  21. So loud, so long, so dumb.
  22. A devastatingly dishonest, tough look at teenage life.
  23. Crash doesn't extend beyond its most immediate sensationalism. When the movie does attempt to find a theme, it slams into a brick wall of mumbo-jumbo.
  24. Gilliam does two things well: mud and trees.
  25. Reprises all the tedium of slasher flicks.
  26. It's a diatribe from beginning to end.
  27. In his screen version, Schumacher does a flamboyant job of staging the book without showing the slightest interest in what it's about. Granted, Grisham's original is no masterpiece; it's beach reading, but it deserves credit for addressing its subject with some conviction and integrity.
  28. It's lewd, crude and socially irredeemable.
  29. It's hard to believe the creative mind that gave us "Almost Famous," "Jerry Maguire," "Say Anything" and "Fast Times at Ridgemont High" looked up with satisfaction after typing 117 pages of this.
  30. The scenario (written by Carl Binder, Susannah Grant and Philip Lazebnik) is disappointingly wan and obsequious.

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