Washington Post's Scores

  • Movies
  • TV
For 6,660 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 Maid
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
6,660 movie reviews
  1. A fascinating premise. And yet, the movie, directed by Bruce Beresford, never quite blooms.
  2. It’s a mushy and unsuspenseful melodrama.
  3. 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.
  4. The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
  5. 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
  6. 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.
  7. The effect for viewers is that of having inserted one's head in a kettledrum that is being pounded on by drunken monkeys.
  8. Schlocky, sluggish shoot-'em-up.
  9. 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.
  10. McCarthy’s willingness to go to the mat notwithstanding, it’s viewers who are likely left feeling punched in the gut.
  11. It's got a lot of small movies bouncing around inside it, but there's no big movie on the outside.
  12. I think you can say that almost everyone watching this will be spellbound, whether they're stupefied by its insanity, more conventionally compelled by the various horrors in store or a combination of both.
  13. It's no worse than any number of other cookie-cutter slasher flicks geared for the slightly post-pubescent market.
    • 35 Metascore
    • 30 Critic Score
    Plot and narrative? Minimal. Confrontations? Endless. Surprises? None.
  14. Good ol' Fred loses any sense of playful shock he once possessed and turns into a generic figure meticulously manufactured to simultaneously gross and freak us out. It doesn't work.
  15. So dull and formulaic, it ought to be leashed and led directly to the doghouse.
  16. Luckily, life (just like the SAT) has its multiple-choice options. You don't actually have to watch this.
  17. So unexpected and unpredictable and so full of tiny grace notes that its ultimate collapse seems almost irrelevant.
  18. If Simon's desire to feed the better angels of our nature is admirable, it would be nice if he could do it with better movies.
    • 35 Metascore
    • 25 Critic Score
    An ineffective excursion that maintains a few direct ties back to the original film but never moves the story forward.
  19. What's Your Number? ups the vulgarity, ladling it on top of a rom-com base so insipid and predictable that the only thing to keep you awake is counting the number of times that the script drops the word "vagina."
  20. A sex romp starring Andy Griffith? Holy AARP! The good news is that the seemingly perennial TV fixture is still funny and sharp and folksy. The bad news is that he lost the bet, or whatever it was that got him into Marc Fienberg's smarmy, lackluster comedy.
  21. The best movie derived from a violent computer game we've ever seen. You can take or leave that kind of qualified high-five, but, for us, it was a thoroughly entertaining experience. Think of bargain basement "James Bond" amped up into TV den-sittin', mouse-clickin' overdrive. But with human actors.
  22. A second-rate romantic comedy.
  23. Lacks the spirit of the previous two, and makes all those jokes about hos and even more unmentionable subjects seem like mere splashing around in the muck.
  24. An uninspired studio product that demands as little from the audience as it did from its writers, directors and actors.
  25. Moves at a glacial pace.
  26. An unoriginal warming over of a skimpy Japanese production that has been re-edited, rescored and rewritten for American tots and padded out to feature length with a plotless short called "Pikachu's Vacation."
  27. Diana isn’t just an egregious case of rewriting history, but one of oversimplifying it.
  28. The movie streamlines much of Harris's book. It's a shame, because it results in the movie's fundamental flaw -- the one-dimensionality of Hannibal.

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