Washington Post's Scores

For 7,952 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 High Hopes
Lowest review score: 0 Let's Be Cops
Score distribution:
7952 movie reviews
  1. The "Twilight Saga" hasn't matured along with its heroine. In fact, the latest movie regresses a bit, delivering more filler, less feeling and crummier CGI than last year's "Eclipse."
  2. Shockingly inert.
  3. This toxic, contemptuous, unforgivably unfunny bagatelle finds Allen at his most misanthropically one-note.
  4. Flagging energy isn't the only issue here; Ford has become enslaved in his own cliches.
  5. What compels then isn't the overwrought plot, but the simpler things, the dynamics between the actors, the avuncularity between old pros Costner and Hurt and the class condescension between Costner and Cook. It has a fascinatin' rhythm.
  6. This fairy-tale shtick, even when dressed up with a little class-war garnish, is hard to swallow.
  7. Built with fine materials and boasts a gorgeous ocean view. Unfortunately the family dramedy's design is overblown and the construction is pretty flimsy.
  8. Very funny in a way reminiscent of "Babe: Pig in the City."
  9. Although the rest of the story plays out with melodramatic predictability, it's timely, not to mention refreshing, to see an affirmation of true love over hot sex, along with a reminder that the two aren't necessarily mutually exclusive.
  10. In this toxic tale of young psychopaths in love, the stylish, often stunning visuals are ultimately outmatched by the repellent protagonists at the story's center.
  11. There are a couple of good things about the film, chief among which is Land's naturalistic performance. But the overall sense of it, heightened by a folk-guitar score so spare it feels like part of the soundtrack is missing, is not one of poignant minimalism but emptiness.
  12. A smart, marvelously drawn account of the bravery of homing pigeons during World War II.
  13. Weitz co-directed the wonderful "About a Boy" in 2002, but in "Dreamz" -- a tediously facile satire -- his comic instincts fail him.
  14. Anyone who actually believes in dybbuks and other ghoulies will find The Possession terrifying. For the rest of us, the movie is a cleverly constructed, well-paced piece of hokum.
  15. On Stranger Tides feels as fresh and bracingly exhilarating as the day Jack Sparrow first swashed his buckle.
  16. Despite the decent performances, the script by first-time screenwriter Toni Hoover (who reportedly Googled “how to write a screenplay” after deciding to chronicle the story of her blinded football-playing friend) swings from flat to overly sentimental, while Baker’s rookie direction is predictable and occasionally confusing.
  17. The movie itself is a tad overheated. In the lurid, swampy, yet almost perversely engrossing follow-up to director Lee Daniels's "Precious," the temperature is set to "sizzle." Ironically, it could have used a little more time in the oven.
  18. Unforgettable borrows elements from film noir, Lifetime movies and slasher flicks and updates them for the Internet age. But this forgettable thriller will simply make you remember other, better films.
  19. A vulgar attempt to revamp the undead genre by introducing computer-generated splatter and a casketful of themes from genetic tinkering to conspiracy theories.
  20. 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.
    • 45 Metascore
    • 50 Critic Score
    An arresting, often riveting film that is fascinating to look at but not nearly so interesting to watch.
  21. Overdresses and ultimately abandons what drew us to its 1998 predecessor in the first place: an intimate embrace with history.
  22. Pride and Glory would be risible if it weren't so reprehensible.
  23. At the movie's thoroughly expected conclusion, a visual joke has a bedraggled cat licking at the icing on a wedding cake, but it's really Melanie who gets to have it and eat it, too.
    • Washington Post
    • 45 Metascore
    • 20 Critic Score
    Jefferson in Paris is nevertheless a disaster, intellectually infuriating and thoughtlessly racist.
  24. The movie, as its title suggests, means to be one of those Tarantino-esque in-your-face jobs, amusing on the audacity of its outrageousness. Here's how "outrageous" it is: Zzzzzz-zzzz.
  25. In Upside Down, writer-director Juan Solanas takes the gimmick about as far as it can go, rendering the metaphor of longing and separation in effective, and richly visual, terms. If anything, however, he goes too far.
  26. A sequel every bit as clumsy, ham-handed, outlandish and laughable as the original was sleek, tough and efficient.
  27. Alas, it's too coarsely drawn and broadly directed by Brit Jonathan Lynn to effectively skewer what ought to have been an easy target.
    • 45 Metascore
    • 63 Critic Score
    The main reason to see Step Up 3D is for the high-energy dancing and innovative camerawork, and on those points it delivers.

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