Washington Post's Scores

  • Movies
  • TV
For 6,643 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 Jimi: All Is by My Side
Lowest review score: 0 Crossroads
Score distribution:
6,643 movie reviews
  1. Seems like a pretty cool movie -- at least, for a remake of a 1970s Saturday morning TV show.
  2. It's just silly, loud and goofy. The dragon needed a bigger part and the two stars smaller ones.
  3. An abominable, abdominal comedy. Aside from its tastelessness and dawdling pace, the movie’s chief problem is the lackluster chemistry between leading lummoxes Jim Carrey and Jeff Daniels.
  4. Whether it’s being sexy, jokey or homicidal, Stage Fright doesn’t deliver the goods with sufficient spirit. It lacks the sparkle to be a truly killer show.
  5. Planet 51 is cute, but it's no "Shrek."
  6. I'd recommend you actively or passively forget this one.
  7. Director Scott Hicks lavishes good taste and sunsets on a story that - devoid of genuine tension, conflict or combustible chemistry between its two stars - just prettily sits there.
  8. A rambling wreck from computer tech and a helluva souvenir –- that is, for those interested in artifacts representing the American movie at its worst.
  9. The true crime is the eight bucks the filmmakers want to steal from you. Best advice: Don't let them get away with it.
  10. Kettle of Fish, starring Matthew Modine as a commitment-skittish saxophone player, is a warm-spirited romantic comedy, but it tends to have a squawky pitch.
    • 38 Metascore
    • 50 Critic Score
    Pleasant-to-watch, easily forgotten drama.
    • 38 Metascore
    • 10 Critic Score
    The "stone"-shtick gets mighty old after about 15 minutes. More than 30 screenwriters worked on the Flintstones script, and the result just proves the ancient saying about too many cooks.
  11. This adaptation of the underground comic strip is mostly unfabulous.
    • 38 Metascore
    • 30 Critic Score
    Weakens, dilutes, disinfects and otherwise undermines the legacy of Tobe Hooper's 1974 original.
  12. Taking Lives would have to work nights to reach mediocrity.
  13. Threatens to become a serious movie, but they're quickly overwhelmed by another indecipherable rampage or outsize visual effect.
  14. After the disastrous "Mixed Nuts," her last holiday season folly, Ephron appears to have hunkered down for a career of pandering mediocrity.
  15. Though I don't think giving it a cuddly human personality and the vocals of Rachel Weisz helps much, the thing itself, part dog, part fish, part weasel, part dinosaur, is a terrific illusion, and the technical team manages to really sell the idea of flight. Too bad the acting is so lame, the story so derivative and the thing so long.
  16. Although filled with fey, flamboyant characters, the stereotype of the gay hairdresser seems to have been meticulously expunged.
  17. A retread of material already thoroughly plumbed by Martin Scorsese.
    • 38 Metascore
    • 70 Critic Score
    A cute sequel to the 1967 Disney classic, is likely to provide 72 minutes of enjoyment and a few scary thrills to tykes, as well as a pleasant diversion for parents.
  18. Might be considered three action sequences and four comedy routines in search of a story.
  19. As Above, So Below is inherently absurd, but it would be somewhat less so had it fully committed to just one of its ridiculous premises.
  20. Tries -- and fails -- to evoke that whoa-did-this-really-happen edge.
  21. The nicest thing is the Asian American actress known as Maggie Q.
  22. If you saw the French version, well, here it is, in Disney language, with John-Hughes-style slapstick.
  23. A train wreck of a film lying inert where the tracks of the Feel Good Line cross the Path of Good Intentions.
  24. Possibly the worst thug-life flick to be released in the past 72 hours, this movie sags under the weight of the bling-bling cliches strung around its headless neck.
  25. Uma Thurman delivers a mesmerizing performance in The Life Before Her Eyes, a film that, once seen and fully digested, exerts the same haunting pull as the shattering events it chronicles.
  26. 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.
  27. Rebecca may owe everybody for everything, but Fisher definitely owns the movie. She is the only one outside of Ritter who gives a bona fide performance.
  28. Hafstrom largely ignores the progress made by his demon-banishing predecessors and delivers a palatable PG-13 thriller that's safe, soft and sinfully cliched.
  29. A tad preachy and more than a little bit sanctimonious.
  30. A tame, fitfully amusing and generally inoffensive romantic comedy.
  31. You are likely to encounter more surprises on the way to the bathroom each morning than you do in this film.
  32. A noisy, impenetrable and totally nonsensical cogitation on the nature of firefighters and the sizzling "animal" they love...We just wish somebody would call 911 for boredom.
  33. Defiantly sophomoric, often hilarious and crude as all get-out.
  34. This movie is a particular disappointment. Although The Seeker is in Walden's tradition of positive storytelling, John Hodge's script is guilty of downright goofy utterances on occasion.
  35. On the whole, it feels like a cross between a PBS special hosted by a series of low-rent Deepak Chopras and an infomercial for self-help audio tapes.
  36. The film degenerates into sophomoric name calling and a brand of insult humor that would embarrass Don Rickles.
  37. Think Like a Man Too, the derivative, intermittently amusing follow-up to the surprise hit rom-com from 2012, is so frenetically paced and hysterically pitched that it makes almost no room for simple enjoyment.
  38. Intended as a fuzzy family fable, "August" plays more to the gag reflex than to the heart, especially when our little orphan starts playing the guitar like a virtuoso after what seems like a three-minute tutorial.
  39. Free Birds has the colorful palette, zippy action and silly story to keep kids giggling, but it also delivers a few worthwhile winks to parents.
  40. A picaresque romance of self-discovery that delivers a near-constant flow of small delights until veering too far into screwball preposterousness.
  41. Insipid, unfunny and cliche-ridden.
    • 38 Metascore
    • 60 Critic Score
    This is not a "good movie" -- in fact, it's a sprawling mess -- but I like it. And I mean that sincerely, you knucklehead.
    • 38 Metascore
    • 80 Critic Score
    A beautiful, sad, spiritual story with joy and delicacy, visual chops and emotional depth.
    • 38 Metascore
    • 40 Critic Score
    Chan's normally homegrown stuntwork is replaced by a lot of wire fighting and special effects, and this makes one think that the days of "Drunken Master" are far behind him.
  42. The movie isn't exactly providing entertaining escape. In fact, the only escape on your mind is going to be the exit door.
  43. It's so over the top, the top isn't even visible in the rear-view mirror.
  44. The exuberance of the Rugrats seems nullified by the effete quirkiness of the Thornberrys.
  45. Not about good storytelling, but it knows to turn up the volume, cut to dizzying closeups of driver's eyes as they negotiate dangerous bends and indulge its audience in the soul slaps, fanny grabs and head nods that govern this racing lifestyle.
  46. Most of the humor in The Pink Panther derives from Martin's silly French accent, especially when he tries to pronounce the word "hamburger." But zat joke, she ees not funny. And The Pink Panther ees, how you say, ze real dog.
  47. Reiner assembles a square meal of rom-com pleasure points, but it’s bland, by-the-numbers and not particularly memorable.
  48. The storyline is so familiar ("Cheaper by the Dozen," et al), the audience can practically call out scenes ahead of time.
  49. 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.
  50. If ever there was a case for quitting while you're behind, this "Blade" is it -- ready to be buried in a vat of garlic.
    • 38 Metascore
    • 30 Critic Score
    Short on real teenage angst and emotion, the film is long on caricatures.
  51. While I Am has its boogeymen - especially the rich, the racist and the ultra-competitive - Shadyac implicates himself whenever possible.
  52. 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.
    • 38 Metascore
    • 70 Critic Score
    Can't wait for the next sequel . . .
  53. Solemn, earnest and as laboriously paced as a fat Sicilian's funeral procession.
  54. An unsurprising, undistinguished piece of post-summer, pre-holiday detritus.
  55. Visually undistinguished, narratively inert, populated by a cast of charmless child actors, "Sharkboy and Lavagirl," with any luck will fade quickly from theaters, memories and Rodriguez's own Things to Do Today list.
  56. Adore at its core is a bore, nothing more.
  57. A well-acted but narratively limp indie that's undermined by a failure to connect emotionally with its audience.
  58. At its worst (and this is where Made of Honor comes in), it can leave you with a bad taste, not just in your mouth but in your soul.
  59. As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
  60. Here's a film that so merrily thumbs its nose at propriety in exchange for visceral thrills, and at probability in exchange for the really cool plot twist, that it checks in as the guiltiest pleasure since "The 13th Warrior."
  61. There's so much pluck and gumption on the screen you can smell it. Flesh and blood? Not so much.
  62. A riot from start to finish, Carrey's first feature comedy is as cheerfully bawdy as it is idiotically inventive.
  63. Despite the marquee names and their obvious talent, the film feels like a made-for-TV movie. It’s slight and episodic, with a weirdly scrupulous ambivalence about its subject, whom it seems torn between loving and loathing.
  64. The only impressive thing about it is the monotony and thoroughness with which it replicates cliches from older, better movies and hammers them into pop alloy to an up-with-me beat beat beat of its musical score.
    • 37 Metascore
    • 70 Critic Score
    If in the end P2 contains few surprises, it's still a nice piece of polished escapism.
  65. Whether or not it's crucial for the gay community to have its own "Porky's" is a question for the ages; but please, not Another Gay Movie.
  66. Mr. Whipple squeezing his Charmin is scarier than this phony baloney computer effects-driven anaconda.
    • 37 Metascore
    • 30 Critic Score
    A kind of cinematic analogue of the Iran-Iraq war: It's overlong, it's hard to tell which one's the bad guy, and it's filled with lots of senseless carnage on both sides.
  67. It's kind of -- hmmmm, less than good, a little better than not bad, almost all right, mediocre without being grating, sort of in the C-minus-to-C-minus-minus range.
  68. Gimme Shelter has a lighter touch than you might think. Yet there are times when its attempts at wringing drama out of real life are more strenuous than is strictly necessary.
    • 37 Metascore
    • 38 Critic Score
    With summer comes theaters filled with superheroes, sequels and forgettable family fare. In the last category, we find Judy Moody.
  69. Don’t expect to see a great film, or even a very good one. Whether you discover a meaningful channel with which to continue your walk with the film’s protagonist, however, is strictly between you and your god.
  70. To its credit, Men, Women & Children seems to allow for a rational middle ground between technophobic Luddites and the lamentably over-wired. It never turns down the moral panic entirely, but neither does it let it completely boil over.
  71. Cinema-as-shoplifting is okay, as long as you still get the feeling it's for a greater good. But that's something The Tourist is sorely missing.
  72. Now and then sputters to comic life but more usually wheezes along.
  73. This latest, utterly gratuitous chapter in the saga of the wisecracking reptile hunter will add nothing to the ever-dimming reputation of the Subaru pitchman.
  74. Too infuriatingly quirky and taken with its own style to get down to telling a story.
  75. So primitive, it must have been written in lizard blood on animal skin.
  76. The only reason you'll feel any wrath is because you shelled out 12 bucks for this steaming bucket of half-baked plot, cliched dialogue and disappointing 3-D special effects.
  77. This mishmash of styles, genres and tonal shifts makes for a dizzying pastiche best described in terms of the many movies it references throughout its nearly 2 1/2-hour running time, from “Little Big Man,” Buster Keaton’s “The General” and the Monument Valley-set canon of John Ford to “Dead Man,” “Rango” and “Pirates of the Caribbean.”
  78. In Evan Almighty, Mr. God goes to Washington. Frank Capra, stop rolling in your grave. At least they cared enough to steal from the very best.
  79. No, it's not a great movie. It is, however, an interesting one.
  80. With all due respect to Cook's novel, another book - the Bible - teaches us that on the seventh day, God gave it a rest. Seven Days in Utopia should have followed His lead.
  81. Charlie St. Cloud, like its star Zac Efron, is a gorgeous, unblemished thing. Both would be much improved with a tiny flaw or two.
  82. Like an elaborately decorated wedding cake, the kid-friendly Walking With Dinosaurs 3D may leave you wondering how something so stunning could end up being so bland.
  83. Despite its deficiencies, Annabelle is not without a modicum of verve. It has its unnerving moments, but they’re outweighed by the sheer stupidity and predictability of the story.
  84. The movie winds up a casualty of schmaltzy, patronizing sentiment on the one hand and overweening ambition on the other.
  85. A longwinded, predictable scenario.
  86. When a burning rat is the funniest thing in your movie, I think you're in big trouble, even in Miami.
  87. I can't recall the original, or even if I saw it or not. But this variation certainly makes its points effectively, in what must be a more superheated milieu.
  88. Movies don't come much lamer than Fools Rush In.
  89. Essentially, Chuck & Larry is an oafish chance for audiences to laugh at gay-bashing jokes and then feel morally redeemed for doing so -- courtesy of an obligatory wrap-up scene that reminds us that homosexuals are humans, too.
  90. There's something secondhand about everything here. Hoge (this is his debut) seems to be mimicking the tone and fabric of other, better indie movies.
  91. All the King's Men hasn't been directed so much as over-directed, although the result, when you make an effort to filter out all the film school pyrotechnics, is an honorable run at Robert Penn Warren's classic novel.
  92. The movie is small but sensational. I don't know what writer-director Frank E. Flowers might lose by trying to take his career international, but he has real talent.
  93. A film that, in attempting to ridicule the Bush administration, finally just settles for being ridiculous itself.
  94. Stuck in that no man's land between comedy and banal movie mob action, and it delivers on neither of these impulses with any force.
  95. There's nothing terribly surprising about Special Forces, a moderately gripping action flick about a group of commandos on a mission to rescue a pretty blonde who has been abducted by the Taliban. Nothing, that is, except that it's French.
  96. A 90-minute theatrical release from Nickelodeon Productions that, if anything, should have aired as a half-hour Nickelodeon special.
  97. 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.
  98. The movie is intermittently amusing, particularly when the American human part of the cast (Breckin Meyer and Jennifer Love Hewitt) are off-screen, the longer and farther the better.
  99. It evokes a warmed-over Fox TV special.
  100. Sometimes the punch lines land and sometimes they don’t, but overall the result is pleasantly nostalgic.
  101. Clearly targeted at Christians looking to reaffirm their faith. Its chances of crossover success with the secular crowd seem remote, given the dramatic shortcomings.
  102. H.G. Wells did it better. This movie spends so much yawn-inducing time on variations of the same combat scenario that its final showdown feels rushed.
    • 37 Metascore
    • 30 Critic Score
    This movie isn't a thriller, it's an insomnia killer.
  103. A grisly, depraved and wholly uninvolving exercise in empty mannerism.
  104. Even if you’ve never heard any of this back story — let alone anything about Mine That Bird — the outcome of the film is never seriously in doubt. That leaves filmmaker Jim Wilson in the predicament of having to entertain us by showing how the horse and his handlers get their act together. Unfortunately, 50 to 1 never really does that.
  105. Speaking of the script, questionable motives and unbelievable decisions are relatively small potatoes compared with the Sputnik-size plotholes.
  106. The most objectionable thing about Only God Forgives isn’t that it’s shocking or immoral, but that it’s so finally, fatally dull.
  107. If you're looking for some good family interspecies entertainment, take the little ones to see "Stuart Little 2" again; in the meantime, you might want to crawl into your cave and sleep through this one.
  108. 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.
  109. It's about women, but as written and directed by a man, it appears to make no emotional sense at all. It treats women like idiots.
  110. A stupid and violent delicacy, congealed nachos and Mountain Dew for the Beavis-and-Butt-head set.
  111. A thinly written, hoarily cliched story that serves mostly as connective tissue between the movie's chief draw, its dazzling dance sequences.
  112. Let's blame it on poor Robin Williams, who tries so desperately to be likable, whimsical, lovable, smart and funny all at once that he just wears you out. Blame it also on the behind-the-scenes engineers at Disney who think that effects are more important than story and character.
  113. Chances are, after they've passed the two-hour mark, viewers will share the same collective, if unspoken, wish: Go, Speed Racer. Go.
  114. Conceived and directed by Madonna, W.E. is a gorgeous mess.
  115. The movie is pretty unabashed about the all-but-corny sentiment: Each of us has something to give.
  116. The movie's half over before it really starts to whack at the funny bone.
  117. Never asks its target audience of self-referential baby boomers and their littles bundles of joy to take it more seriously than it takes itself.
  118. If you think it's worth it to sit there for 97 minutes for three or possibly four laughs, then you are beyond help.
  119. It couldn't be any less revolutionary in style. It is straighter than a guitar string.
  120. Why -- when there are so many funnier, smarter, more gifted performers who can't get arrested in Hollywood -- why, for the love of all that's good and holy, does Martin Lawrence get to keep making movies?
  121. Tooth Fairy is cute. Which is to say that Dwayne Johnson is cute. How could anybody with the body of Arnold Schwarzenegger (circa 1984) and the smile of Cameron Diaz not be, especially when dressed -- albeit briefly -- in a pink tutu?
  122. With the exception of a few enjoyable action scenes, such as when Aeon and fellow operative Sithandra (Sophie Okonedo) flip and backflip their way across a lethal garden of bullet-spewing trees and spikes disguised as blades of grass, Aeon Flux is surprisingly draggy.
  123. This Arthur is an exercise in time-travel tedium, a trip to the Land That Funny Forgot.
  124. A boilerplate melodrama whose good guys and bad guys are so baldly drawn they could have been conceived by Friz Freleng.
  125. Consider the title your best advice.
  126. Functional but tiresome.
  127. The movie, based on the TV cartoon series, is exceptionally pleasant, and there's just enough humor to make it enjoyable for adults.
    • 36 Metascore
    • 30 Critic Score
    Has the stink of man-musk all over it.
    • 36 Metascore
    • 30 Critic Score
    It really should be arrested for impersonating an interesting movie.
    • 36 Metascore
    • 50 Critic Score
    A wham-bam encounter, it gives you everything you (presumably) want, sets itself up for another sequel, and it makes sure you don't recall a thing about it in the morning.
  128. Dull and repetitive, even by the standards of an already repetitive genre.
  129. Rarely has an actress exuded such blank nothingness as Simpson, a one-woman vapid delivery system who sucks the energy and joy out of every scene she's in, like some freakishly well-endowed black hole.
  130. An innocent comedic revenge fantasy that somehow manages to be sweet and wickedly satisfying at the same time.
  131. The movie's chief crime against the planet, other than the sheer wastage of time, is the trivializing of the great Freeman. This actor has such dignity and depth and humanity, he almost makes the film watchable.
  132. Abomination of a movie.
  133. Your own final destination just might be the box office, to demand your money back.
  134. In an era of careful cost accountancy and focus-group testing, it's remarkable that a movie as truly, deeply, madly foolish as The Wicker Man escaped the asylum. But we must be grateful for the endless guffaws and gasps and outright stunned silences it unleashes on lucky audiences.
  135. The Jackal is based on a fabrication so absurd that it almost made me laugh out loud.
  136. Sure, I laughed. Yes, I cried. But mostly I just wanted to throw up.
  137. 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.
  138. Kids sense when a movie is being noisy and frantic just to keep them distracted; these apes are overcaffeinated.
  139. There's no sense of perspective here.
  140. Segel and Diaz are gifted and game comedians, with a lot of audience appeal. But Lowe clearly upstages them, consummating their Sex Tape — and making you want to roll over and have a cigarette — while there’s still one reel to go.
  141. Tries so hard to be cool that it forgets to be alive.
  142. Maestro is for people already aware of this history. For everyone else, this is pretty much invitation-only.
  143. Frankly, scarier critters have checked into Roach Motels. [13 June 1987, Style, g1]
    • Washington Post
  144. It's hard to know who exactly Parental Guidance was made for.
  145. Even though it earns an R rating for profanity and some risque material, it’s too meek and mild-mannered to qualify as brave, or even slyly subversive.
    • 36 Metascore
    • 50 Critic Score
    It's astonishing how much intensity and focus these two have lost, but the picture itself is not all that bad -- if you can get the collapsing-career thing out of your head.
  146. Intentionally defies categorization and explication.
  147. It's saying something when Tom Arnold's performance is among the movie's highlights.
  148. There's more bathroom and slapstick humor than a sixth-grader could stand, and a veritable flood of drool, blood and less mentionable effluvia, most of it courtesy of Mr. Wayans as he tries to be – you know – funny.
  149. Despite some Cold War humor, the formulaic film is aimed squarely at the youngest of young children.
  150. It's lame, corny, Ed Woodishly amateurish -- all of which is as lovable as the big lug himself.
    • 36 Metascore
    • 38 Critic Score
    Those nostrils do a lot of Momoa's acting, to be honest. As right as he is looks-wise, Momoa falls short in attitude.
  151. If the ultimate goal is entertainment, then Lady in the Water enthusiastically rises to the task. In a movie laden with enough symbolism, shamanism and mythic lore to make Joseph Campbell dance a tribal jig, Shyamalan never forgets to have fun.
  152. The best thing about awkward moments, after all, is that they usually pass quickly. And, blessedly, just as swiftly forgotten.
  153. Death Sentence, directed by "Saw" co-creator James Wan, swings the pendulum too far. One day Nick is a mild-mannered nerd who spends his days making (and loving) risk assessments for his company; the next, he's Travis Bickle from 1976's "Taxi Driver."
  154. The wanton fabulistas of Party Monster are as boring and insignificant as the very "normals and drearies" they so contemptuously deride.
  155. A bungled screen version of Louis de Bernieres' cult novel, Captain Corelli's Mandolin was doomed from the moment Nicolas Cage was cast as the "life-devouring," Puccini-loving hero.
  156. Cletis Tout is both in love with and able to laugh at the conventions it adopts, which is exactly where it goes wrong. It's just a little too self-satisfied.
  157. The film might take its name from poker subculture, but it lacks all the urgency, single-mindedness and swiftness that the title implies at its most literal. Runner Runner is a bummer. Bummer.
  158. Having ruled out humor, the movie emphasizes action and melodrama. Director Park Hong-soo, making his feature debut, handles the former with proficiency but little flair.
  159. Fast Food Fast Women is "Sex and the City" in Payless shoes. An incoherent jumble of characters and situations.
  160. The movie has been made with consummate carelessness but with occasional moments of knowing humor.
  161. The Watch takes the same ethos of male bonding, obsession with sex and sardonic violence that has proved so profitable in recent years on yet another summer spin. The tires may be in need of changing pretty soon, but for now the jalopy still runs.
  162. Although audiences will admire the film's do-it-yourself energy and commitment, Poster Boy finally collapses of its own contrived weight, deflating just when it should soar into madcap -- or at least thoughtful -- satire.
  163. It's a shame Allen fired her from that play. After all, then she might not have had the time to make this documentary.
  164. Horror fans will twitch impatiently at those long stretches between killings. And audiences anticipating a feature-length "Girls Gone Wild" video will suffer withdrawal from the lack of loosened bra straps.
  165. The littlest children in your house may find something to titter at from time to time, but based on the reaction of a young screening audience, it won't be often.
  166. Perhaps there will be people who do laugh at Lawrence and Raven-Symon screaming in tandem, or mugging their way along every tortured mile of their road trip, or unwittingly joining a sky-diving club and having to parachute into Washington so Melanie can make her interview. Heck, it was all really funny when they did it on "I Love Lucy."
  167. Tells us nothing we didn't already know, and it tells it over and over and over.
  168. Rusnak, who was the second-unit director of "Godzilla," brings plenty of style to this ambitious yet utterly anticlimactic thumb-sucker.
  169. If only The Reaping had the decency to be coherent.
  170. Unoriginal and woefully half-baked, Number Four plays out as such.
  171. An exceedingly bright comedy that never makes you feel stupid for enjoying its brisk pacing, smart lines, sound construction and superb comic acting, not only from Ashton Kutcher but from Cameron Diaz and well-chosen No. 2 bananas Rob Corddry and Lake Bell.
  172. My only question is this: In the context of these by-the-book pratfalls, is it funny enough?
  173. Something Borrowed clinches it: It is not okay to sleep with the fiance of one's best friend. What's odd, and ultimately icky, is how enthusiastically the film attempts to justify doing so.
  174. It's like a ferret on crystal meth that belatedly discovers ecstasy, and it's a tiresome trip either way.
  175. As you might expect, the calculations here are on a much less sophisticated level. And by less sophisticated, I mean like counting on fingers.
  176. The movie is not exactly an upper, but Hartley fans won't want to miss the latest creation of this consistently intelligent director.
  177. There's something so familiar and commonplace about this story and its characters...it's hard to get particularly thrilled.
  178. The performances take the movie to a higher level.
    • 36 Metascore
    • 70 Critic Score
    As fantastical as all that sounds, the pleasure of Push comes from its glamorized grit, its no-nonsense pacing and the committed performances of the actors roughhousing in the gray area between heroism and villainy. It's pure popcorn, popped fresh, doused in butter and sprinkled with soy sauce.
  179. Lazily written and hopelessly miscast.
  180. KEN, KEN, KEN, not another Shakespeare, pleeeeeeez.
  181. By its own deliriously rock-bottom standards, "Universal" ain't half bad. Of course, you have to be big on bloody slaughter, kickboxing, infrared gunning and impaired acting. But "Universal" executes its subtle-free mission with surprisingly watchable efficiency.
  182. Luckily, a strong supporting cast makes up for the protagonists’ tepid interactions. The brilliant duo of Kevin Hart and Alan Arkin steal the show.
  183. The movie based on Young's 2002 memoir is a good bit blunter. One early laugh comes at the expense of a pig urinating on a woman's feet at the BAFTA awards, the British equivalent of the Oscars. And it doesn't get much better, or much smarter, than that.
  184. He's obsessed with the physical details instead of the human emotions. The actors are really just part of the scenery.
  185. My Blue Heaven puts you in a stupor comparable to the one that comes on after Thanksgiving turkey. Written by Nora Ephron, it makes you long for the awful "Heartburn."
  186. It's not new. It's not interesting. I wish it would go away.
  187. It's as pretentious and wispy as its title.
  188. Sphere, an unfathomable chowder of recycled science fiction and undersea thrillers, briefly bubbles with promise only to plummet into the murky depths. Weighed down by inconsistencies and pretensions, the tale founders like a stinky beluga.
  189. Unfolds with all the entertainment value of watching somebody else play a video game.
  190. It's difficult to know whom to root for.
  191. A jarring amalgam of sitcom goofiness and uncomfortable ooginess.
  192. The movie’s action sequences are both thrilling and idiotic.
  193. Much of Transformers: Revenge of the Fallen is simply despicable.
  194. Doesn't anyone get sick of this same old routine?
  195. Will prove infectious to those audiences who find themselves sharing the director's frivolous frame of mind.
  196. You don't want to love this, but you will. Although Scooby-Doo falls far short of becoming the "Blazing Saddles" of Generations X, Y and Z, it is hard to resist in its moronic charms.
  197. The new film by the phenomenally talented Scots-English trio of director Danny Boyle, producer Andrew MacDonald and screenwriter John Hodge -- they did both "Shallow Grave" and "Trainspotting" -- is a failure so absolute and witless it deserves some kind of mention in the Hall of Lame.
  198. Jigh class briefly gives way to high camp, which then itself dissipates to an anticlimactic thud.
  199. Ricki Lake makes an appealing, though unlikely, fairy tale heroine in the derivative romance Mrs. Winterbourne: If only this stale trifle didn't call for the bewitching or pixilating, for the abracadabra of a Bullock or a Pfeiffer. For a Cinderella story, it's sorely without magic.
  200. There were moments when I thought Gone in 60 Seconds might be a passably entertaining movie. I figure those moments, strung end-to-end, would total 30 or 40 seconds.
  201. Audiences who have avoided the multiplex these last few years because of the garbage peddled there are the only ones for whom this overly familiar "Walk" will be memorable.
  202. A fascinating premise. And yet, the movie, directed by Bruce Beresford, never quite blooms.
  203. It’s a mushy and unsuspenseful melodrama.
  204. Involves such a disturbing blend of unhealthy mother-son affection and physical pain that it gives new meaning to the term child -- not to mention audience -- abuse.
  205. The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
  206. Xanadu cannot possibly be described as a good movie, but it can be recommended to those who can tolerate large amounts of intravenous marzipan. The music is highly enjoyable -- though perhaps more so once one gets the record album home and isn't bothered with the story -- and the film so unerringly airy that it has a beneficent, tranquilizing, bemusing effect.
    • Washington Post
  207. Boils down, in the end, to the age-old question: Career or life? That Post Grad draws a stark line between the two, and forces its heroine into an untenable decision, might be the most disappointing thing about a movie that never quite succeeds in capturing a generation adrift.
  208. The effect for viewers is that of having inserted one's head in a kettledrum that is being pounded on by drunken monkeys.
  209. Schlocky, sluggish shoot-'em-up.
  210. A special place in purgatory must be reserved for John Leguizamo, who produced and stars in The Babysitters, a loathsome slice of exploitation at its most cynical and crass.
  211. McCarthy’s willingness to go to the mat notwithstanding, it’s viewers who are likely left feeling punched in the gut.
  212. It's got a lot of small movies bouncing around inside it, but there's no big movie on the outside.
  213. All in all -- well, there is no all in all. There are just parts. Some fit, some don't. Some are cool, some aren't. It's the craziest thing you ever saw.

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