Washington Post's Scores

For 8,496 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 4.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Act of Killing
Lowest review score: 0 Lethal Weapon 4
Score distribution:
8496 movie reviews
  1. This movie just doesn't match its predecessors.
  2. Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. What madcaps! [12 Aug 1986, p.C8]
    • Washington Post
  10. Fun With Dick and Jane has lived up to its title: It's fun, and that's fine.
  11. 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.
  12. I Feel Pretty suffers from a fatal flaw: its premise.
  13. 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.
  14. The cumulative effect is closer to a didactic after-school special for troubled parents.
  15. 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.
  16. Bewildering, tediously violent.
  17. A joyous genre-blender guaranteed to crank up your karma.
  18. 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.
  19. It's a monumental biopic that cheapens the hero's successes by glossing over the failures that surely also shaped the man.
  20. Anyone want to watch some guy pick up women? Especially a fat-lipped, insincere kid who says "Did anyone ever tell you you have the body of a Botticelli and the face of a Dégas?" Me neither. But luckily, there's a little more than that to James Toback's The Pickup Artist.
    • 47 Metascore
    • 30 Critic Score
    This is billed as a romantic comedy, but it's much more boring than funny.
  21. It would be cornier if it weren't so well acted by Nunn, Bening and 12-year-old Allen.
  22. Falls as flat as a bottle of corked Bordeaux.
  23. The bigger surprise is just how clunky and unsatisfying this follow-up feels.
  24. This Matt Perry vehicle is funnier than anyone could hope to expect.
  25. 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.
  26. An ambitious, experimental mess of a movie in search of something more profound.
  27. Controversial, yet undeniably powerful.
  28. An entertaining affair whose wild-card creativity never ceases to surprise.
  29. 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.
  30. The Wachowski brothers have rendered their chronicles into banality, as if trying to imitate the qualitative tailspin of the "Star Wars" series.
  31. 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.
  32. It’s a tentative, half-realized tale that ultimately suffers from a significant identity crisis.
  33. 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.
  34. This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
  35. 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.
  36. 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.
  37. A sporadically amusing romp modeled on "Dirty Rotten Scoundrels."
  38. Elle fans will likely ignore the narrative shortcomings in favor of a well-loved character.
  39. Offers audiences a real rarity in theaters these days: a good, honest cry.
  40. This is high-carb filmmaking at its finest. When it's all over, you'll have a knot in your stomach.
  41. 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.
  42. 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.
  43. 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.
  44. 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.
  45. While the music slops and churns and the ground-level bathos rises, the aerial stuff is occasionally stirring.
  46. 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.
  47. A singularly vulgar piece of work.
  48. 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.
  49. 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.
  50. Canadian director Atom Egoyan delivers a rare misfire with Where the Truth Lies, a shockingly fatuous murder mystery with pseudo-intellectual pretensions.
  51. A slight, disingenuous script that robs the characters of their histories.
  52. Allegations of governmental double-talk and cover-ups are, unfortunately, boooring.
  53. It's worth seeing at the very least because it is so different from standard Hollywood fare.
  54. It's just unfortunate that a movie about such a daring man ultimately takes few risks.
  55. Despite its generic title and flat ending, tickles most of the way through.
  56. As glossy and overproduced as the thing is, it's a GOOD Big Stupid American movie.
  57. Cryer, a talented comedic actor, struggles mightily but can't wring laughs from the lowbrow humor. The screenplay, written by Jeff Rothberg and Joe Menosky, is statically directed by Bob Giraldi, a maker of Michael Jackson videos and Pepsi-Cola ads, in his faint feature debut.
    • 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.
  58. 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.
  59. I Saw the Light isn’t just incohesive, but ultimately — and far more frustratingly — incoherent.
  60. Despite all the mayhem, The Hitman’s Bodyguard is a surprisingly bland dish.
  61. Adult humor in kiddie films -- of which there is plenty in The Wild -- is not only welcome but, for many adult viewers, essential.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
    • 47 Metascore
    • 50 Critic Score
    At best, Rambo: First Blood Part II is a crudely effective right-wing rabble-rouser, the artistic equivalent of carpet bombing -- you don't know whether to cheer or run for cover. At worst, it's a tribute to Sylvester Stallone, by Sylvester Stallone, starring Sylvester Stallone. [22 May 1985, p.F1]
    • Washington Post
  68. 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!
  69. 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.
  70. 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.
  71. 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).
  72. “Thunder” doesn’t boast a distinctive look or a cast of famous voices. But its characters are engaging and its action sequences exhilarating.
  73. A prosaic, sexually perverse thriller masquerading as a critical look at military injustice.
  74. As it stands, this movie seems to have conflicting desires: to endear itself to the audience and then repel it.
  75. Silly? Contrived? Vapid? You bet. Put more simply, "The Prince & Me" is . . . cute.
  76. This movie is a predictable, gruesome piece of business.
  77. This Psycho seems a little nuts.
  78. 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.
  79. It tries unsuccessfully to make a wry gumshoe noir out of an overarching, cross-sectional political diagram.
  80. 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.
  81. 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.
  82. 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.
  83. 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.
  84. 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.
  85. 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
  86. 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.
  87. Entertaining enough for the trick-or-treat crowd, but a bit more bite wouldn't kill it.
  88. 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.
  89. A taut, well-acted, not very scary, not very hard to figure out serial-killer mystery.
  90. Sappy but sweet B-ball Cinderella story that succeeds thanks largely to the outsize charm of its 4-foot-8-inch, corn-rowed protagonist.
  91. 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.
  92. The film doesn't even cut it as cheap escapism.
  93. The premise is tragically flawed and politically incorrect. In fact, it is blatantly cat-ist.
  94. These storied 13 days feel like the Hundred Years War.
  95. By the time it winds down, U.S. Marshals has all but destroyed itself. It's gone pffft! in the night.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
  101. 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.
  102. Outlandish, uneven, preposterous and often maddeningly morbid.
  103. A thoroughly unnecessary but nonetheless satisfying adaptation of the cheeseball 1980s TV series.
  104. In all, it's not too bad and it's not too long.
  105. 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.
  106. It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
  107. Neither funny nor suspenseful nor particularly well drawn.
  108. A slow, talky and only faintly moving meditation on mortality and memory.
  109. 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.
  110. A Benji movie can't be the most boring thing under the sun, but while struggling to stay awake during something as tedious as "For the Love of Benji," now at area theaters, you begin to imagine that the minutes might pass more quickly and vividly if you were watching the grass grow or contemplating the horizons in Barstow or Wendover. [24 June 1977, p.B9]
    • Washington Post
  111. So programmatic, so dogged in hitting the right steps at the right time that it completely lacks spontaneity.
  112. 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.
  113. 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.
  114. 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.
  115. The film is, at times, almost sinfully fun, assuming you have a taste for self-indulgently logic-free hedonism.
  116. 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.
  117. 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.
  118. "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
  119. 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
  120. 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.
  121. One-dimensional archetypes, too much predictability and not enough comedy.
  122. At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
  123. Linney -- this has happened too much to her -- is once again the best thing in a movie that at most achieves a certain mediocrity.
  124. 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.
  125. 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.
  126. 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).
  127. If your teenage sons are looking for heroes, send them to Toy Soldiers. Even if they're not, send them anyway. They'll probably enjoy watching a judge being thrown out of a helicopter. Too bad the judge didn't take the script with him. Most reasoning adults will probably reject this far-fetched clash between American preppies and Colombian terrorists.
    • 46 Metascore
    • 37 Critic Score
    By the end, though, the original bits fade as easily as one song bleeds into another.
  128. There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
  129. 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.
  130. The movie's self-importance is further inflated by the usual pseudo-Wagnerian score and occasional narration by John Hurt.
  131. As Snow White, actress Lily Collins is a washout.
  132. 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.
  133. A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
  134. This vainglorious biopic about Bobby Darin is really about what the '60s pop singer and actor means to Kevin Spacey.
  135. More than predictable. It plods along with the inevitability of a doomed soldier going off to war.
  136. As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
  137. I spent most of Johnny English wondering whom the filmmakers were targeting. While childish and silly, it's far too violent for young kids.
  138. 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.
  139. 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.
  140. 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.
  141. Some of it is funny -- particularly the physical comedy. Most of it is not.
  142. 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.
  143. 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.
  144. 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.
  145. 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.
  146. There are only two really good jokes -- or two really gross ones, depending on your sensibility -- in She's Out of My League. Both of them are stolen.
  147. Sin City: A Dame to Kill For is as visually imaginative as its predecessor.
  148. It's the kind of movie that succeeds as a culmination of moments that ring true and sweet.
  149. By going back to its origins and dusting itself off, the King Arthur story has proved itself to have a very contemporary resonance.
  150. Jack Lemmon and Walter Matthau reprise the roles of a pair of Minnesota mossbacks in the heartwarming, albeit warmed-over, sequel Grumpier Old Men—though given its scatological bent, it might have been called Grump and Grumpier.
  151. Even at its most wrenchingly painful, the film readily delivers generous dollops of pleasure.
  152. First-time feature director Harald Zwart has a real flair for farce, and he keeps the outrageous high jinks of the script lively yet grounded in reality.
  153. Unhappily, the attractive twosome never give into the pull, just as this coquettish variant of "Planes, Trains and Automobiles" never arrives at its promised destination.
  154. You can boost mediocrity a little, but you cannot raise it from the dead.
  155. The reunion is fun and frantic, like the original on double nitro.
  156. Hoot may be warm and fuzzy with its adorable owls, triumphant kids and inviting Florida groves. But its forced, innocuous humor is unlikely to amuse anyone but the very young -- and the extremely forgiving.
  157. In the end, there’s nothing here we haven’t seen before. But there’s also nothing as agonizingly awkward as James’s prose.
  158. Writer-director Danny Strong’s feature debut embodies the very phoniness that the author — and his signature character, Holden Caulfield — railed against.
  159. The film is one of those accursed self-styled "outrageous" comedies that play the horrific for broad laughs, with a comically inflated style of dialogue that's so hip one doubts it could have been conceived before 1997, much less 1847.
  160. The most controversial thriller of the year turns out to be about as exciting as watching your parents play Sudoku.
  161. It's a tough, intense, wrenching picture about drugs and growing up and surviving, driven by a fierce, skinless performance by its star, Leonardo DiCaprio.
  162. A talented comedian, Lawrence has leaned all too easily on formula for his successful films. Imagine if he would test his flair against original and fresh premises, instead of the tried and trite. Why, he'd discover what it's like to take pride, not just profit.
  163. It's not Christmas that's being stolen here. It's the spirit of Dr. Seuss.
  164. This ethnic family sitcom thing is rapidly turning into wearisome cliche, and American Chai doesn't hold a candle to either "Beckham" or "Greek Wedding."
  165. Something between an indiscretion and an atrocity.
  166. It's a brilliant concept, one of Allen's finest. Love the concept, baby. But the execution is, well, average.
  167. Saw
    But humans who live above ground, including horror fans, will find themselves only fitfully entertained and more consistently appalled.
  168. CJ7
    Its use of minor expletives and a depressing chapter late in the movie will not satisfy parents seeking something sweet and lively for their children; nor will it charm art house audiences up for a smart adult fairy tale.
  169. Heedless of purpose, Horns charges full speed ahead anyway, ramming its high-concept hooey down your throat until the only heat you feel is from indigestion.
    • 46 Metascore
    • 50 Critic Score
    To the detriment of their story, the filmmakers seem to have forgotten that even the most serious of kid-friendly films can benefit from an injection of fun while attempting to jerk tears.
    • 46 Metascore
    • 25 Critic Score
    This time around, there's barely any plot, just excuses for Bronson to blow people away.
  170. Ought to be the subject of an obituary, not a review. A creepy film noir modeled on Quentin Tarantino's "Reservoir Dogs," it was a stinking stiff on arrival.
  171. This muttering boatman seems to have lost his old-time heroism. No longer is Rambo killing for a cause, but for kicks. And his portentous blather, even by Rambo standards, becomes unintentionally hilarious.
  172. What's funny to Broken Lizard? Let's try: What's not funny? The answers are, everything and nothing. They'll do anything for a laugh, no matter how puerile, silly or offensive.
  173. It goes so far -- way too far -- as having a known actor play Grant.
  174. All of The Last Days on Mars feels like it’s been done before.
  175. It's both straight-faced spy film and sly spy spoof. That's a difficult balancing act, but director James Mangold gets it exactly right.
  176. The shocks are strictly mechanical and redundant, the script uncomplicated by incidental humor or character byplay. It comes as no great surprise when the killer is revealed to a be a Halloween clone and then allowed to vanish, aggravating the pathetic resemblance. The reviewers who made a fuss over Halloween have a lot to answer for. [25 Feb 1981, p.B12]
    • Washington Post
  177. With a cast like this, The Exorcism of Emily Rose is a superior performance vehicle and on that count alone is never less than riveting.
  178. These two generate real, slow-burning rapport, so that you're still pulling for them even during a gratingly preposterous climax.
  179. Penn, who also wrote the script, burdens the story with so many self-indulgent side developments that he loses emotional drive and Freddy's desperate obsession gets lost in the shuffle.
  180. Spaceballs is actually a kind of comic black hole. All in all, the movie is about as funny as having coffee spilled in your lap. Except that there's no burn -- just that slightly embarrassing, uncomfortable, all-wet feeling.
  181. The movie's entertaining for some wickedly funny situations and witticisms.
  182. This is a movie that starts silly and just gets sillier -- at one point Candice Bergen shows up with a Buddhist monk -- but its laughs are sweet-natured, and Heaven knows the lead players earn every one.
  183. A solid second film from director Gary Fleder ("Things to Do in Denver When You're Dead"), it's sure to set pulses racing and spines tingling. Too bad it's at the expense of the dignity of young women everywhere.
  184. Steven Brill, who has a small role in the film, constructed the screenplay much as one would put together some of those particleboard bookcases from Ikea.
  185. A star isn't born in El Cantante as much as it's reconfirmed. She's still here, and she's still got it.
    • 46 Metascore
    • 30 Critic Score
    Even though Carrey is a bit mellower these days, the schtick feels dated. He's doing material from the '90s.
  186. If it weren't so shocking, it would be a lot funnier.
  187. This is a movie that knows its audience and realizes it doesn't need much of a story to hit that audience, literally, where it lives.
  188. You can expect to fall about, snort and hoot, at times hard enough to hurt inner body parts that only doctors can identify.
  189. A brain and a heart, two things that, along with a good story, believable characters and anything resembling style or flair, Pumpkin is fatally missing.
  190. An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
  191. Ought to have been called "The Sap Also Rises."
  192. Mark Childress, who wrote the screenplay based upon his book of the same name, would have been better off leaving this Southern Gothic between two covers.
  193. A pooped, poorly executed buddy-cop comedy with more cliches than expletives.
  194. Ultimately the movie feels like an empty exercise. Sure, it’s a cautionary tale about the pitfalls of fame. But when the one figure most worthy of our sympathy is nothing more than a beautiful blonde robot, what’s the point?
  195. Another gate-crasher at the let's-do-a-mediocre-update-of-Shakespeare party.
  196. While perfectly presentable and agreeable, especially if you are in an undemanding frame of mind, Krull remains a thin, dogged exercise in extravagant adventure. [03 Aug 1983, p.B1]
    • Washington Post
  197. Wonder Wheel may be scenic, but it goes nowhere — and slowly.
  198. The whole thing is played for laughs that almost never come. To be sure, the film has its moments, but they’re few and far between.
  199. Does Lurie have an ax to grind? And how. Yet if, to some ears, its high-pitched whine nearly drowns out the underlying story at times, why did so many in that preview audience seem deaf to it? Maybe that's Lurie's real point: A culture that feeds on violence -- in real life and on film -- has also inured us to it.
  200. The performances are fantastic across the board, with Costner acting in his trademark low-key naturalistic style and Spencer as the picture of no-nonsense maternal love. But their efforts can’t make up for overly simplified characters, not to mention melodramatic exchanges that sound exactly like written dialogue.
  201. The movie is humble as child's play, graced with the effortless comedy of Hanks and Ryan. They're as fresh and warm as summer peaches, but never sappy, thanks to the off-kilter honesty of Shanley's writing.
  202. Though shot in four weeks on a low budget, Stephen King's Children of the Corn, while not on a par with "Carrie," sure beats "Christine," "Cujo" and "Dead Zone." It's terse, tense and the sound is effective as auditory terror.
    • 45 Metascore
    • 30 Critic Score
    There's an adult mentality throughout the film, and not a nice one. It gets all the smirking fun it can, then tacks on some quick sermonizing at the end. One minute sex is like a camp food-fight -- against the rules but everybody has a good time-- and the next it's the grown-up activity that leads directly to that other favorite grown-up activity -- depression. The accompanying adult had better be prepared to explain not sex, but "Do as we say, don't do as we show."
  203. A Night in Old Mexico succeeds when it comes to suspense, and the ever-evolving plot will keep viewers guessing. But the movie doesn’t have the same kind of emotional depth that Duvall and Wittliff managed to pull off decades ago. Worse, the dialogue often sounds stilted.
  204. At once daring and hackneyed, absorbing and off-putting, a triumph of one sort and, more lastingly, a failure of another.

Top Trailers