Washington Post's Scores

  • Movies
  • TV
For 6,687 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 The Last Waltz (re-release)
Lowest review score: 0 Lethal Weapon 4
Score distribution:
6,687 movie reviews
  1. Even the basic look of the film -- it was filmed on a stage with every shot set against a bleak, dark backdrop -- underscores the filmmaker's position as master manipulator, in a laboratory, looking down at his mice running through his maze.
  2. Director McGrath retains the novel's highlights, but he slices everything to ribbons.
  3. The tale grows only more toxic with time.
  4. The problem with this movie is the problem with most Renny Harlin movies: There's an excessive amount of excess -- a mind-numbing plurality of firearm battles, vehicular explosions and brutally frank sexual talk.
  5. A piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil. They say they want a revolution? Then give us a revolution, one that's believable, frightening, heroic, coherent and not a teenagers' freaky power trip.
  6. The most persistent question asked at When Do We Eat? will probably be "When do we leave?" This abrasive Passover comedy-drama is extremely difficult to sit through, and if its makers weren't all Jewish, it would be considered anti-Semitic.
  7. A crass physical comedy of unrelenting irrelevance with a gag or two amid the many other examples of bad taste, extrapolating toward infinite on the theme of remote control reality.
  8. This overproduced romantic comedy doesn't even qualify as fluff; it's flat, featureless plastic.
  9. Thr3e needs help with more than spelling.
  10. It's a shame Allen fired her from that play. After all, then she might not have had the time to make this documentary.
  11. Makes "Conan the Barbarian" seem like Dostoyevsky in its complexity.
    • 45 Metascore
    • 20 Critic Score
    Jefferson in Paris is nevertheless a disaster, intellectually infuriating and thoughtlessly racist.
    • 44 Metascore
    • 20 Critic Score
    Girl 6 is such a mundane, flat comedy.
  12. The comic equivalent of microwaved leftover food -- and pretty stale at that.
  13. Father of the Bride, Part II is a virtual avalanche of cheap emotion. Short on comedy but long on maudlin sentiment, this sequel stumps so hard for the traditional values of home, hearth and family that any possible entertainment value is canceled out.
  14. Murphy has said that he wanted the picture to work both as a comedy and a horror movie, but he has succeeded at neither. Director Craven manages to wedge in some of his signature bits, but can't keep the comic elements in balance with the horror, and as a result there's no tension or dramatic pull.
  15. Far and Away is such a doddering, bloated bit of corn, and its characters and situations so obviously hackneyed, that we can't give in to the story and allow ourselves to be swept away.
  16. Lethal Weapon 3 is pretty much the same as "Lethal Weapon 2," which was pretty much the same as "Lethal Weapon."
  17. Puffed up with Mamet's brawny bromides and DeVito's self-indulgent direction, this bio-pic would be an altogether empty load were it not for Nicholson, all snake eyes and snarls as the Teamsters boss.
  18. Spaceballs is actually a kind of comic black hole. All in all, the movie is about as funny as having coffee spilled in your lap. Except that there's no burn -- just that slightly embarrassing, uncomfortable, all-wet feeling.
  19. Irony is the movie's escape hatch. It allows the filmmakers to stage maudlin bits and, at the same time, signal the audience that they're too cool to actually believe in them. Their cool is all-purpose, and it carries with it a note of genuine nastiness. They manipulate us into a sentimental response, then kick us in the teeth for buying it.
  20. As you might expect, the calculations here are on a much less sophisticated level. And by less sophisticated, I mean like counting on fingers.
    • 33 Metascore
    • 20 Critic Score
    Forsyth's script feels uncomfortably improvised, so almost all of the performances are hesitant and unconvincing. [06 May 1994]
    • Washington Post
  21. Surely the dullest of Hollywood's many comic-book-derived summer movies, "Silver Surfer" is drearier than corn dying in the Iowa sun, slower than molasses in Antarctica.
    • 47 Metascore
    • 20 Critic Score
    A film that contains dialogue so nasty and stupid, you'd swear (right along with the characters) that the booker for "Jerry Springer" wrote it (Zombie did).
  22. It's just gunfights strung together, without a whisper of coherence or meaning. The fights are staged so that they all look the same, and the principle is always the same: The gunman's multiple antagonists never hit, and he never misses. John Woo at least had fun with this sort of thing 20 years ago. And Giamatti? What the heck is he doing here?
  23. Sitting through this is groan-inducing enough, but it's spiritually depressing to watch Djimon Hounsou, who deserves better.
  24. I like watching snakes eat mice just as much as the next fella, maybe even more, but The Strangers turns the gobble-'em-up into an ordeal. It's a fraud from start to finish.
  25. This lurid celebration of shock, schlock and the shamelessly perverse finds the 67-year-old grandfather of torture porn scraping the bottom of his admittedly limited creative barrel.
  26. Anyone with a modicum of good sense -- or a weak stomach -- will take it as a warning to stay the heck away from this literally and figuratively deadly "War Zone."

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