Washington Post's Scores

For 8,089 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Cobb
Lowest review score: 0 Broken Arrow
Score distribution:
8089 movie reviews
  1. A crackpot Looney Tune, pretentious, abysmally slow, amateurishly acted and, above all, wrong.
  2. The movie has the sense of being embalmed, or pickled. With its stilted dialogue not quite kitschy enough to be funny and not quite authentic enough to be realistic, the whole movie feels as if it's taking place in formaldehyde.
  3. Watching Thurman's character "triumph" in a context as joyless and self-referential as Tarantino's is a soul-deadening experience, one that over two hours takes on the same dreary monotone as the cheapest pornography.
  4. The story is maddeningly oblique and incomplete, despite paying what at times feels like excruciating attention to the minutiae of a dying love affair's final hours.
  5. The movie made almost no sense whatever to me. I literally could not follow it, even as I was dazzled by it.
  6. A cynical, sexist and shallow work from cinema's premier misanthrope, Robert Altman, who here shows neither compassion for -- nor insight into -- the human condition.
  7. In the end, I'm wondering what's so special about a film that has but one guilty pleasure and that's Ben Kingsley spraying saliva-lubricated variants of the F-word into the atmosphere like anti-aircraft fire for 10 solid minutes.
  8. We're really celebrating Hollywood's freedom to create biographies of anyone, no matter how high or low on the social ladder, and still come up with the same banal characteristics, messages and conclusions. In this sense, The People vs. Larry Flynt doesn't champion, so much as squander, freedom of speech.
  9. Halloween is a stab at a derivative minor classic. It's apparent where Carpenter got his horror devices - and a minor misfortune that he hasn't been able to synthesize them in a fresh or exciting way.
  10. For all its stylishness, verve and moments of visual poetry, the relentlessly punishing slapstick and overall cruel tone left me cold.
  11. Best of Enemies exists mainly as an occasion to replay the footage of Vidal’s smug taunt and Buckley’s seething response. It’s great television, but it has been available on YouTube for some time now.
  12. Although it contains many visually compelling passages and some provocative moments, the movie is strangely banal and simplistic.
    • 76 Metascore
    • 30 Critic Score
    Ultimately undermined by the fact that the two rock bands Timoner chose to focus on -- the Brian Jonestown Massacre and the Dandy Warhols -- simply don't matter as much as she thinks they do.
  13. Doesn't progress or deepen, it just gets weirder, and to no good end.
  14. The film is probably of interest only to those viewers who, like Gondry himself apparently, already have an obsession with Chomsky.
  15. Feels like something I know is supposed to be good for me, but that I just couldn't stomach.
  16. Obstreperous, male-bashing pain in the patoot.
  17. While the younger Van Peebles certainly looks the part, Baadasssss! never feels like anything more than kids playing dress-up.
  18. Stone's film is a case study in cultural analysis that aims at too much and achieves too little.
  19. The filmmakers keep trying to make Will appear paranoid, but he’s not fooled for long — and most viewers won’t be, either.
  20. The film, like the cheap double-scotches quaffed down by the central character, leaves a distinctly sour aftertaste that's hard to wash away the morning after.
  21. A shapeless collection of encounters with Texas prison inmates and their victims, what could have been a well-aimed examination of the most troubling contradictions of capital punishment instead becomes a maudlin, unrestrained wallow.
  22. It orders you to love it. It demands love, which is the best way not to get it.
  23. The story behind Hercules, Walt Disney’s insipid, lifeless, animated feature, is hardly the stuff of children’s entertainment.
  24. Unrelentingly grim, unremittingly gross and unforgivably unattractive, 28 Days Later is an orgy of troubling images and bestial sound effects.
  25. Roll past this casino.
  26. This is another unhelpful screed, uncontaminated by sense or perspective, that preaches loudly to the choir.
  27. The good news might be that Huppert wasn't available for Alias Betty, but the bad news is that it didn't stop France from exporting yet one more cold, pretentious, thoroughly dislikable study in sociopathy.
  28. By the film's self-congratulatory final shot, Stevie has become less a portrait of a sorry young man's difficult life than the story of auteurist arrogance and self-deception run amok.
  29. The satirical edge has been dulled in a film that is dominated, and ultimately swamped, by its star's mannered, pixilated performance.

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