Washington Post's Scores

For 8,204 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 4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Fresh
Lowest review score: 0 Let's Be Cops
Score distribution:
8204 movie reviews
  1. It's what the Brits themselves might call fair to middling.
  2. The film is a strictly no-bull proposition.
  3. A respectable effort that doesn't care to do more than course smoothly and effortlessly through familiar waters.
  4. Its important if inflammatory message will bore all but Chomsky's fellow travelers to death.
  5. Possesses an undeniable heart. The bad news is that it will still be buried underneath layers of stale Sandlerisms tomorrow, and the next day, and the next.
  6. The Three Musketeers, a rusty trio of middle-aged retirees, have all but changed their motto from "All for one and one for all" to "I have fallen and I can't get up" in this less-than-rollicking adaptation.
  7. It's creepy, all right. It's just that HOW it goes about creeping you out is sometimes just plain cheesy.
  8. A movie that, despite its strenuous efforts to appear hardened and sexy and sleek, is unforgivably phony, talky and dull.
  9. The movie, which marks the feature debut of writer-director Kate Barker-Froyland, has the low-key appeal of “Once,” with its extended scenes of music and drama-free romantic subplot. But the characters in Song One are stubbornly bland, despite their quirks.
  10. One of the peculiar attractions of Easy Money is that it's suggestive enough to keep you amused even as it takes goofy, capricious detours. It's not what you'd call a classic or a class comedy act, but it has the kick of an embryonic pop phenomenon.
  11. Paris Can Wait is a modest, genteel piece of cinematic escapism, a silky testament to sensuality as impeccably tasteful as it is utterly undemanding.
  12. Even Posey -- who brightens most movies she's in -- fails to stir the movie's unresponsive tectonic plates.
  13. The only thing that's truly scary about the movie is the escalating vulgarity of the latest in a string of skanky comedies by filmmakers determined to out-gross the other.
  14. It's about half as much fun as the original.
    • 48 Metascore
    • 60 Critic Score
    A character study with underdeveloped characters.
  15. Shabbily photographed and raggedly assembled. Caddyshack is hanging evidence that Ramis wasn't prepared for the assignment or clever enough to fake it...Ramis proves unable to sustain a single frayed thread of plot continuity, and none of the prominent cast members -- Chevy Chase, Murray, Rodney Dangerfield and Ted Knight -- enjoys opportunities decisive enough or direction competent enough to generate a little comic momentum and help prevent the gratuitous material from falling in a stinky, dismembered heap.
  16. The Disney animators still take great care to capture the majestic beauty in the jagged landscapes and towering conifers of the Yellowstone-esque Piston Peak Park. Unfortunately, the same contours and shading don’t apply to the characters.
  17. This drama is serious and well made but will appeal primarily to those with an interest in the devastated setting (1945 Tokyo) and the enigmatic title character (Emperor Hirohito).
  18. Takes the story one more crank toward the literal. When the thing hits the bird, it turns out, guess what, it is a piece of the sky, the sky is falling. It's like saying: McCarthy was right! Sheesh, revisionist history: It's everywhere!
  19. 21
    The story may be based on real events, but most of it feels patently false.
  20. It's not that Wayans lacks wit, it's that he's stomped it to death. A sweet-natured performance -- and the fact that he and Tom Cruise probably have the same orthodontist -- doesn't quite make up for the muddle. Don't be a sucka.
  21. The film is all cliched atmospherics and no real insight.
  22. The characters are as thin as the air at 26,000 feet, and the story as silly as anyone willing to assault K2 in a punishing blizzard.
  23. Allen, who's a natural charmer, seems to be at half-strength here.
  24. Fast and furious, shallow, empty, casually racist, merry, jaunty, silly and utterly weightless.
  25. This sloppily made, poky, extra cheesy adventure is virtually a remake of "Armageddon."
  26. Strictly a vanity vehicle with a mess of star babies on board. That would be just fine if it didn't take us down the same old cul-de-sac. But it does, and with a vengeance.
  27. The best thing about the movie is its personable, amusing cast, all members of the five-man comedy troupe Broken Lizard. There's a chemistry among them, which obviously comes from having been together as comedians at Colgate University.
  28. A plodding, aggressive film that is neither engaging, disturbing nor funny.
  29. When the film isn’t sloppily directed, it’s a series of lazy filmmaking tics, including fetishistic slow-motion shots of blood, water and sweat, as well as sundry dismemberments, impalings and decapitations.
  30. Enjoy it, in moderation. It's your recommended weekly allowance of schlock.
  31. Memoirs of an Invisible Man isn't a movie. It's an identity crisis. The previews would have you believe it's a zany comedy. But the jokes are too far and few between. And if it's a comedy, why is John Carpenter directing it?
  32. Hill and Stallone seem determined simply to prove that, even in their golden years, they're still tough enough to rumble with all comers. Bullet to the Head exposes that bravado for the pose that it is, and it's not a good look.
  33. "Star Treck" is an essentially passive adventure movie, made more so by director Robert Wise's failure to prevent the protracted effects sequences from retarding the narrative pace. [8 Dec. 1979, p.E1]
    • Washington Post
  34. The movie is as damnably perplexing as the subject himself.
  35. Even viewers who are mildly diverted by the whodunit angle are unlikely to find themselves emotionally engaged in the outcome.
  36. Satisfies a hunger for the basics: a decent mystery to chew on, a bit of juicy suspense, maybe a plot twist as garnish. The fare is all on the standard menu, but it goes down well just the same.
  37. Nothing could save this movie. These guys make a fortune off the comedy of cruelty. How dare they climb on a soapbox?
  38. It's a warm bath experience, soap-sudsed with sentimentality, improbability and other storytelling misdemeanors.
  39. What the movie is supposed to accomplish -- laying out a fairly complex mystery in a way that creates suspense -- is precisely what it doesn't do.
  40. Whether it's the sight of Reynolds squeezed painfully into a football uniform or the endless footballs-to-the-crotch and tired gay jokes, The Longest Yard has the feeling of mutton dressed as lamb.
    • 48 Metascore
    • 50 Critic Score
    Those who fondly recall "The Blob" would seem to be the target crowd for a fastidious pastiche that attempts to coax laughs by maintaining a poker face.
  41. One Day often seems too tame for its own good, as if its spirited protagonists were censoring themselves in deference to a PG-13 rating.
  42. Broderick, for his part, is playing a role solidly in his late-career wheelhouse: a middle-age disappointment, Ferris Bueller gone to seed. So affecting is Broderick in these parts -- at this point, only Philip Seymour Hoffman plays a better schlub.
  43. The movie, directed (and written) by Zach Helm in grotesquely bright colors, means to approach the creepy wonder of Roald Dahl but gets only the creepy part right.
  44. Tatum, the hunky object of Amanda Bynes's fancy in "She's the Man," and an engaging basketballer in "Coach Carter," is the best thing about this uninspired formula-thon.
  45. Anyone willing to tolerate the tortured premise of the story will be paid off handsomely by several winning performances and a moral that makes most of the absurdity worthwhile.
  46. Admission is not especially funny. The trailer can’t seem to make up its mind. On the one hand, it looks like a satire of academia. On the other hand, it could be a gentle rom-com. In truth, it’s neither.
  47. A queasy union of savagery and uplift, the film ought to be unnerving. Instead, it finally becomes routine. [18Apr1997 Pg. C.07]
    • Washington Post
  48. What is perhaps most disappointing about this ham-handed film, though, particularly since it was directed by the screenwriter of the righteously raging "Thelma and Louise," is its crypto-misogyny.
  49. Never manages to make its characters anything other than cartoons.
  50. Aside from the plot -- and if you can figure out the plot, the CIA's special projects unit wants to talk to you -- Cop II is a rarity: a sequel that's as good as the original, if not better.
  51. While Airplane II, proves to be a breezy and tolerably consistent follow-up to its successful prototype, a parodistic copy that relied less on jokes from the original might have seemed a shade fresher. [11 Dec 1982, p.C1]
    • Washington Post
  52. In drama, and just about everything else, almost is never enough. Which is why Martian Child, about the growing bond between an adult and child, never reaches us.
    • 48 Metascore
    • 63 Critic Score
    Anyone who’s ever dreamed of tutus, tights and toe shoes will likely get a kick out of Leap!
  53. Helped by director Hany Abu-Assad and spectacular cinematography by Mandy Walker, who makes the most of the film’s British Columbia locations, Elba and Winslet generate chemistry that is convincing in direct proportion to the story’s outlandishness.
  54. While one might have wished for a better movie, and a few smarter decisions regarding the screenplay, generally it's a riveting, even inspirational account of an American feat of arms about which few know but about which many more should.
  55. Sensory pleasures abound in Black Nativity, which is grounded by Forest Whitaker and Angela Bassett’s performances as Langston’s strict, God-fearing grandparents.
  56. It's a fun ride, and the big payoff -- that history turns out to be way cooler than its reputation suggests -- is even more gratifying. Bully!
  57. Engaging but pedestrian comedy.
  58. Strikes an unsatisfying balance between serious romantic texture and outright farce.
  59. The story line is little more than a shiny hat for holding the high-tech rabbits. Still, it's an enjoyable bit of smoke and mirrors, thanks to the decency and resourcefulness of its hero.
    • 48 Metascore
    • 37 Critic Score
    Intermittently diverting as it may be, the movie bears all the earmarks of a cobbled-together, made-by-committee product, poorly aimed at its tween-and-younger target audience in look, tone, music and story.
  60. Biographical stinker that insists on remaining unreasonably disjointed for 2 1/2 hours. [28 Jan 1983, p.D1]
    • Washington Post
  61. The movie is a mess from start to finish. But then again, this jerky, haphazard approach is part of the movie's goofy charm.
  62. It's as predictable and comforting as a Happy Meal, but it must be said that The Proposal manages to elicit some genuinely amusing moments.
  63. Cage is back in crackling good form in National Treasure: Book of Secrets.
  64. Without being parodistic, it manages to poke fun at the air of privilege and strenuous political correctness common to lefty, liberal arts schools, while retaining a certain affection for their heartfelt quirks.
  65. xXx
    Essentially a dumb guy's day in Heaven. The movie's retrofitted with stunts, fights, explosions, drugs, babes and cars -- not necessarily in that order.
  66. Many of the visual effects are stunning, but others are downright cheesy -- especially an attempt to fuse the Rock's head onto a scorpion's body.
    • 48 Metascore
    • 60 Critic Score
    It is only when Reeves meets up with his incredibly cute baseball team that this movie comes to life.
  67. This movie just doesn't match its predecessors.
  68. Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
  69. In order for the trick of the film to work, however, one must hold Morgan to a standard that the movie is unlikely to live up to.
  70. The singer-actress has screen presence to spare and a nice, rich voice. By the time her young fans outgrow her -- or she them -- she should have an excellent chance at a second career. Making, you know, real movies and real music.
  71. The movie suffers by taking itself a little too seriously. It's not just that it's a lot less funny than the book. It's also a lot less fun.
  72. Producer-for-Life George Lucas puts his awesome creative machinery to work in Willow, a would-be adventure of little people, big people, good guys and bad. But the fantasy wheels grind to a halt, bogged down in Lucas' flat, derivative story, and not helped in the least by director Ron Howard's clumsy steering.
  73. There’s something admirable about the fact that Being Charlie exists at all. It’s a testament to Nick Reiner’s survival. That doesn’t mean it’s a great movie.
  74. What madcaps! [12 Aug 1986, p.C8]
    • Washington Post
  75. Fun With Dick and Jane has lived up to its title: It's fun, and that's fine.
  76. A Mexican movie in which the outcome is never in doubt, the scenes are endless -- sorry, we meant poetic-- and the false beard on the central character's face looks as though it could use a little extra gum.
  77. A romper that doesn't shy away from sexual frankness or Mediterranean laissez faire.
    • 47 Metascore
    • 40 Critic Score
    Take the cast of 1978's "Animal House" and 1984's "Revenge of the Nerds," toss them on a desert island, watch them breed and enroll their raucous, kvetching offspring at a college for rejects. A fluffy teen comedy, Accepted gets annoying fast.
  78. The cumulative effect is closer to a didactic after-school special for troubled parents.
  79. Gibson and the overexposed Hunt don't exactly burn up the screen, not that it much matters. The charm isn't in the relationship, it's in Gibson's puckish appeal.
  80. Bewildering, tediously violent.
  81. A joyous genre-blender guaranteed to crank up your karma.
  82. The fat cats of Hollywood have coughed up a hairball.
    • 47 Metascore
    • 50 Critic Score
    A hodgepodge in the raj -- a predictable patchwork of forbidden romance, English arrogance, a gun given as a gift, suicide, corruption, deception, rising Indian nationalism and a short-lived chase through the jungle.
  83. It's a monumental biopic that cheapens the hero's successes by glossing over the failures that surely also shaped the man.
    • 47 Metascore
    • 30 Critic Score
    This is billed as a romantic comedy, but it's much more boring than funny.
  84. It would be cornier if it weren't so well acted by Nunn, Bening and 12-year-old Allen.
  85. Falls as flat as a bottle of corked Bordeaux.
  86. The bigger surprise is just how clunky and unsatisfying this follow-up feels.
  87. This Matt Perry vehicle is funnier than anyone could hope to expect.
  88. The movie is one of the best American films in months and months and the best comedy since I don't know when. It even makes you sorta kinda like Matthew McConaughey.
  89. An ambitious, experimental mess of a movie in search of something more profound.
  90. Controversial, yet undeniably powerful.
  91. An entertaining affair whose wild-card creativity never ceases to surprise.
  92. The aptly subtitled Night at the Museum: Secret of the Tomb is a blast of dead air and mummified humor.
    • 47 Metascore
    • 50 Critic Score
    After more than two hours, what we're left with feels like a Robert Altman movie on Botox. It has some real substance and heft, but it also might be a bit too glossy.
  93. The Wachowski brothers have rendered their chronicles into banality, as if trying to imitate the qualitative tailspin of the "Star Wars" series.
  94. The movie refuses to descend into the cute smarminess of a mutual recovery drama, thanks to originally conceived characters. We're always wondering -- and wonderfully surprised -- by their choices.
  95. It’s a tentative, half-realized tale that ultimately suffers from a significant identity crisis.
  96. Admittedly, this is the stuff of lurid adolescent distraction, not great cinema. Jennifer's Body is strictly a niche item but provides a goofy, campy bookend to "Drag Me to Hell" on the B-movie shelf. Watch it, forget it, move on.
  97. This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
  98. Berry’s performance, although less campy and histrionic than the trailer makes it look, is still outsize in proportion to the material, which feels slight and insubstantial despite its basis in a true story.
  99. But for all its passion and topical currency, the movie plays too often like a college colloquium. And it ends on an unsatisfying note, with each character's choice, whether fateful or fatal, hanging in a confounding limbo of indeterminacy.
    • 47 Metascore
    • 60 Critic Score
    You don't have to be a Phishead to enjoy Bittersweet Motel.
  100. A sporadically amusing romp modeled on "Dirty Rotten Scoundrels."
  101. Elle fans will likely ignore the narrative shortcomings in favor of a well-loved character.
  102. Offers audiences a real rarity in theaters these days: a good, honest cry.
  103. This is high-carb filmmaking at its finest. When it's all over, you'll have a knot in your stomach.
  104. Burlesque delivers eyeful after eyeful of rapid-fire opulence and spectacle. But its most memorable sight is the indelible image of one star taking flight, and another triumphantly staying put.
  105. When the climax does come, it arrives with a bra­cing blast of campy absurdity so flamboyantly deviant that it glows with a kind of perverse brilliance. But the setup is starved of logic, the film’s vital oxygen.
  106. Restless is saved from movie-of-the-week soppiness by its plucky lead actors; by now we assume (correctly) that Wasikowska will infuse her character with lucid, clear-eyed warmth.
  107. Of course, action movies don’t have to be believable or poignant. They just have to get your adrenaline pumping. But the movie lacks inspiration in that department, too, owing to action sequences you’ve seen before, familiar music and dialogue so predictable you could make a game out of guessing the next line.
  108. While the music slops and churns and the ground-level bathos rises, the aerial stuff is occasionally stirring.
  109. Overplotted, undercooked and extremely well-dressed, The Dressmaker has style to burn, but it has a mean streak as wide as the Outback.
    • 47 Metascore
    • 50 Critic Score
    The film's not nearly as idiotic as its trailer made it seem, because it's not really about voting, or politics.
  110. A singularly vulgar piece of work.
  111. Coming to America isn't as aggressively awful as the "Cop" films or "The Golden Child," but at least in those films there was something to react to. In making Coming to America, Murphy seems to have set his sights on the lowest prize imaginable. He aspires to blandness.
  112. To director Scott and screenwriter Roselyne Bosch, the atrocities against the natives came about not as a product of evil but through Columbus's ineptitude as a political leader. Still, this failure -- and his frustration over never actually reaching mainland America -- renders him a tragic figure. Though he was the dreamer and pioneer who first set foot in the New World and brought treasures and territory to Spain, he died all but forgotten. The movie, alas, for all its wondrous beauty, is destined to suffer a similar fate.
    • 47 Metascore
    • 70 Critic Score
    A thoroughly credible hybrid of the prison film and the supernatural, it has plenty of shocks, of course, but also an actual story. What makes it work here is the skill and energy of a young director, Renny Harlin, and a surprisingly decent ensemble.
  113. Canadian director Atom Egoyan delivers a rare misfire with Where the Truth Lies, a shockingly fatuous murder mystery with pseudo-intellectual pretensions.
  114. A slight, disingenuous script that robs the characters of their histories.
  115. Allegations of governmental double-talk and cover-ups are, unfortunately, boooring.
  116. It's worth seeing at the very least because it is so different from standard Hollywood fare.
  117. It's just unfortunate that a movie about such a daring man ultimately takes few risks.
  118. Despite its generic title and flat ending, tickles most of the way through.
  119. As glossy and overproduced as the thing is, it's a GOOD Big Stupid American movie.
    • 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).
    • 47 Metascore
    • 50 Critic Score
    Moviedom is littered with the wreckage of ill-conceived small-to-big-screen adaptations, but Reno 911!: Miami is not the disaster it could have been. Fans of the TV show need not shudder. You will not see sacrilege.
  120. Some of the tropes of The Lost City are ineffective. What does work is the sense of loss. The late Cuban novelist and screenwriter G. Cabrera Infante finds a brilliant device in the love affair between Fico and Aurora (Ines Sastre), his sister-in-law, in that Aurora in some way becomes Cuba.
  121. I Saw the Light isn’t just incohesive, but ultimately — and far more frustratingly — incoherent.
  122. Despite all the mayhem, The Hitman’s Bodyguard is a surprisingly bland dish.
  123. Adult humor in kiddie films -- of which there is plenty in The Wild -- is not only welcome but, for many adult viewers, essential.
  124. To call Poltergeist laughable is not the same thing as saying it’s bad (although it is that, too.) It’s just that it seems less interested in scaring you than in making you chuckle. At least on that score it succeeds.
  125. Utterly shatters the illusion with a trite plot, banal dialogue, clunky sentimentality and, worst of all, a sort of narrative arbitrariness.
    • 47 Metascore
    • 37 Critic Score
    This outing does not suffer the epic badness one associates with films that aren’t screened early for critics, and in fact it offers moments of actual entertainment. It simply fails to exploit its assets: an amusing, revisionist take on the mythological strongman, and the charisma of Dwayne “The Rock” Johnson.
  126. Crash doesn't extend beyond its most immediate sensationalism. When the movie does attempt to find a theme, it slams into a brick wall of mumbo-jumbo.
  127. 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.
  128. A crackling courtroom drama with more twists than O.J. had alibis.
    • 47 Metascore
    • 30 Critic Score
    The movie's heart is in the right place, but good intentions can't overcome dialogue that alternates between melodramatic and cliched.
  129. The best thing about Murder at 1600? Speed of exposition. Directed by Dwight Little, who made Steven Seagalís "Marked for Death," this thing whizzes from one unbelievable story point to the next. Your suspension of disbelief appreciates the momentum, if nothing else.
  130. What a waste of talent, time and money. And guess what else? Not only is The Legend of Zorro stupid and boring but -- ta-da! -- it's also really long!
  131. Max
    Despite the overplaying, Max gets its job done, which is to celebrate the sacrifices of military dogs, while warming the cockles of your heart.
  132. Katherine Heigl makes an official bid for America's Sweetheart in her sophomore effort, 27 Dresses, a romantic comedy that -- despite her undeniable, apple-cheeked appeal -- sags like a day-old bouquet.
  133. What makes The Time Traveler's Wife work as drama, though, and certainly better than it might have, is an unhesitating emotional commitment on the part of the actors (and Schwentke).
  134. “Thunder” doesn’t boast a distinctive look or a cast of famous voices. But its characters are engaging and its action sequences exhilarating.
  135. A prosaic, sexually perverse thriller masquerading as a critical look at military injustice.
  136. As it stands, this movie seems to have conflicting desires: to endear itself to the audience and then repel it.
  137. Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
  138. This movie is a predictable, gruesome piece of business.
  139. This Psycho seems a little nuts.
  140. A fast-paced, twisty-turny, high-fiving, but ultimately spiraling disaster of a movie about air traffic controllers, gets lost in this hyperbolic cloud cover, never to be found again.
  141. It tries unsuccessfully to make a wry gumshoe noir out of an overarching, cross-sectional political diagram.
  142. For anyone old enough to cross the street without holding hands ... the movie's a reconditioned lemon trying hard to hide its flaws.
    • 47 Metascore
    • 30 Critic Score
    It is flat-footed, uninspired and disjointed from start to finish, a glaring disservice to the men who played the game.
  143. Hong Kong director Stephen Fung (“Tai Chi Hero”) is no John Woo, but he gives The Adventurers almost as much style as its larcenous characters exude.
  144. Thanks to a sensitive performance from Kinnear, as well as from a terrific cast of supporting actors, what could have been merely a feel-good exercise in Eschatology Lite instead becomes a wholesome but also surprisingly tough-minded portrait of a man wrestling with his faith.
  145. In its own way, the movie version — handsomely directed by Phillip Noyce and featuring an appealing, sure-footed cast of emerging and veteran actors — aptly reflects The Giver’s pride of place as the one that started it all, or at least the latest wave.
    • 47 Metascore
    • 50 Critic Score
    The hatchet-happy editor, ever-attentive to the transient attention span of the film's target audience, barely allows the hero time out from one virtuosic battle before he is flung in the face of a new enemy.
  146. Wyatt Earp, a bio-pic that lasts more than three hours and moves with the urgency of a grazing buffalo, lacks everything from a coherent dramatic structure to a clearly articulated point of view.
  147. Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
  148. The appeal of The Skeleton Key lies not in its plot but in its attention to detail, and the way director Iain Softley (still on probation for "K-PAX," but nevertheless the guy who did "Backbeat") luxuriates in the deeply textured sights and sounds of Louisiana.
  149. Entertaining enough for the trick-or-treat crowd, but a bit more bite wouldn't kill it.
  150. Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
  151. A taut, well-acted, not very scary, not very hard to figure out serial-killer mystery.
  152. Sappy but sweet B-ball Cinderella story that succeeds thanks largely to the outsize charm of its 4-foot-8-inch, corn-rowed protagonist.
  153. This is, after all, the kind of movie in which traffic accidents not only mess up getaways but also liberate goats to wander through the airport. We need more of that stuff.
  154. The film doesn't even cut it as cheap escapism.
  155. The premise is tragically flawed and politically incorrect. In fact, it is blatantly cat-ist.
  156. These storied 13 days feel like the Hundred Years War.
  157. By the time it winds down, U.S. Marshals has all but destroyed itself. It's gone pffft! in the night.
  158. In the end, what mars "Timothy Green" most is its middle-of-the-road approach. Its appealingly quirky, fairy-tale-like center is so coated with sugar, it cloys. It's not that "Timothy Green" is odd, but that it isn't odd enough.
  159. Andre Benjamin, Woody Harrelson, Maura Tierney and David Koechner -- all talented -- seem amazingly zombie-like here. And Jackie Earle Haley, as a stoner fan of the Tropics, is more disconcerting than funny.
  160. The movie is carried by sweeping widescreen images, dynamic camera movements, impressive special effects and a color scheme that contrasts icy blues against fiery reds.
  161. At one point, Frank contemplates a wheeled suitcase and infuses in that one moment the sweetness and vulnerability of E.T. See Everybody's Fine, but one piece of advice: Phone home first.
  162. Heckerling directs this mess with no sense of pace and less sense of where to put the camera. There are pixilated, MTV-style sequences that simply slow up the story, car chases and car crashes, and, of course, aerobicizers boinging out of their leotards. The best thing in the movie is the catchy theme from the last Vacation, which, unfortunately, hasn't the slightest thing to do with Europe.
    • 47 Metascore
    • 50 Critic Score
    The best thing about this psychological exploration is its star, Courteney Cox.
  163. The best reason to see 44 Inch Chest is simply to behold some of the finest actors working today, especially Winstone -- who can embody winsomeness and menace in one sweaty, unkempt glance -- and the woefully underemployed Dillane.
  164. Outlandish, uneven, preposterous and often maddeningly morbid.
  165. A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
  166. In all, it's not too bad and it's not too long.
  167. The film fleetingly touches on the underfunding of schools and other administrative problems as well as the more compelling personal issues of teen pregnancy and violence. But the characters are so poorly drawn and underdeveloped that they seem to be little more than personifications of these societal ills.
  168. It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
  169. Neither funny nor suspenseful nor particularly well drawn.
  170. If you go in with the right attitude, there’s a fair amount of fun to be had from In Secret, considering it’s a musty French costume drama done in plummy English accents.
  171. So programmatic, so dogged in hitting the right steps at the right time that it completely lacks spontaneity.
  172. The film is visually mannered and full of posing and longueurs. But it is stylish, very French (despite its American origins) and diverting if well short of brilliant.
    • 46 Metascore
    • 40 Critic Score
    Newsies is all left feet, noise and clutter.
  173. Vaughn is the film equivalent of a well-known novelist that no longer gets a good edit. He has the charismatic salesguy shtick down, but he needs a director who can rein him in.
  174. A few others have compared this to a James Bond movie, but it's more of a piece with a Tom Clancy movie; it never leaves the real world that far behind, it has a fair sense of documentary reality, and the action sequences -- from shootout to car chase to a commando takedown of a tanker on the high seas to a final knife fight -- are extremely well managed.
  175. The film is, at times, almost sinfully fun, assuming you have a taste for self-indulgently logic-free hedonism.
  176. We're supposed to adore Gibson's sang-froid and his toughness, but everything, a few good lines aside, is so witless and monotonous it becomes numbing.
  177. Overwritten, overextended and clunkily symbolic
    • 46 Metascore
    • 30 Critic Score
    Unless you're a Clint fan there's little other reason to sit through this one.
  178. "Dragon" was apparently meant to be a big, rousing musical comedy-fantasy, but it's staged and photographed without musical-comedy energy, flair or coordination. [17 Dec 1977, p.D7]
    • Washington Post
  179. The war-movie cliches are as abundant as the antiaircraft fire, and the dialogue as wooden as a balsa glider. The leading characters are issued one personality trait apiece, and some don't even get that. Cuba Gooding Jr., for example, plays Maj. Emanuelle Stance as a man who smokes a pipe.
    • 46 Metascore
    • 30 Critic Score
    The stories are markedly different, but the acting seems remote and hollow, as if no one believes in what they're doing. [18 Oct 1996]
    • Washington Post
  180. Upon this fine mess shines Janeane Garofalo like a ray of sarcastic sunlight as FBI agent Shelby...With her gift for sweet bile, the sardonic Garofalo makes every second on screen a treasure to be cherished.
  181. One-dimensional archetypes, too much predictability and not enough comedy.
  182. At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
  183. Linney -- this has happened too much to her -- is once again the best thing in a movie that at most achieves a certain mediocrity.
  184. Ruffalo is so squirrelly in the role that he seems like a dead giveaway from the start. You know exactly where the story is going, and, dang, that's exactly where it goes.
    • 46 Metascore
    • 60 Critic Score
    All of the supporting characters -- notably tubby Richard Griffiths as Tess's nurse and mousy Austin Pendleton as her chauffeur -- are thinly drawn, but neither MacLaine nor Cage leaves much room for anyone to overact.
  185. A cautionary environmental tale with a thin veneer of entertainment on top. With its cotton-candy-colored palette of orange, pink and purple truffula trees, it looks like a bowl of fuzzy Froot Loops. But it goes down like an order of oatmeal. Sure, it's good for you. It's just not terribly good.
  186. When the jokes work, it's for a simple reason: The four actors playing the couples are seasoned veterans of film comedy (although each is more than capable of handling dramatic roles, as well).
    • 46 Metascore
    • 37 Critic Score
    By the end, though, the original bits fade as easily as one song bleeds into another.
  187. There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
  188. An unfunny comedy by Tony Vitale that is enacted not by fleshed-out characters but by hackneyed, two-dimensional stereotypes. There’re so many sexual and ethnic caricatures, it’s hard to know which is most offensive.
  189. The movie's self-importance is further inflated by the usual pseudo-Wagnerian score and occasional narration by John Hurt.
  190. As Snow White, actress Lily Collins is a washout.
  191. The only reason to watch this movie is for stargazing, nice shots of the sea and to revel in a world where false promises, lies and empty posturing are actively encouraged.
  192. A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
  193. This vainglorious biopic about Bobby Darin is really about what the '60s pop singer and actor means to Kevin Spacey.
  194. More than predictable. It plods along with the inevitability of a doomed soldier going off to war.
  195. As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
  196. I spent most of Johnny English wondering whom the filmmakers were targeting. While childish and silly, it's far too violent for young kids.
  197. Perhaps Steven Soderbergh's metamorphosis from clever Cajun auteur ("sex, lies, and videotape") to heavy-duty Eastern European angst-master has been altogether too successful. Like authentic Soviet Bloc cinema, Kafka makes its audience suffer along with its heroes.
  198. I wished Next Day Air were funnier. In the end, it's a fitfully amusing, sloppy comedy that doesn't work very hard for your 10 bucks.
  199. Artistically, You, Me and Dupree is a mess. Technically, it's an abomination. Spiritually, it's a void. Commercially, it'll probably be a big hit.
  200. Some of it is funny -- particularly the physical comedy. Most of it is not.
  201. Beautifully outfitted and moodily photographed, the movie is directed by Stephen Hopkins, the Jamaican-born Australian responsible for Nightmare on Elm Street V. He keeps the pedal to the metal but never allows the explosive action to minimize his actors.
  202. 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.
    • 46 Metascore
    • 75 Critic Score
    This film manages to have the feel of an original -- and very effective -- piece of comedy. In part this is due to the delicate touch of director Michael Lehmann ("Heathers"), who never allows the film to slip into a silly mode.
    • 46 Metascore
    • 50 Critic Score
    Separates the tech-savvy boys from the lost-in-cyberspace men. Really--the movie may be too fast and confusingly jargon-choked for everyone but Netsurfers and Webheads.
  203. Director Griffin Dunne lacks a clear vision, torn between blithe spirits and brimstone, between madcap and macabre. But then what does it matter when there's so little magic on screen anyhow? That is unless you count making audiences disappear.
  204. If Slater were a bigger star, this self-serving vehicle would have been a hoot, a surefire DVD attraction for any Camp Night in the living room, not to mention a shoo-in for one of the 10 worst movies of 2005.

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