Washington Post's Scores

For 7,751 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 3.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Three Colors: Red
Lowest review score: 0 An American Werewolf in Paris
Score distribution:
7751 movie reviews
  1. The real trouble with Transcendence is that it just isn’t all that scary — at least not in the way that it wants to be.
  2. See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
  3. Everything is needlessly tangled and bewildering.
  4. You can make a movie that’s both sweet and crass; just look at Judd Apatow’s comedies. But the mix doesn’t work here, maybe because both the vulgarity and the cheesiness are so amped up.
  5. Safe Haven is one of those Valentine’s Day confections that satisfy your sweet tooth until you get to their weird, off-putting center. The problem with movies is that you can’t put them back in the box.
  6. We don’t expect a James Bond film to be deep, but at least we should be dazzled by the seductive gloss of its surfaces. Aside from that stunning opening sequence, this installment feels overcompensating and dutiful.
  7. Although Lee briefly engages in some fascinating ideas linking the vampire’s existence to cultural empowerment, preservation and survival, he squanders that potential in leaden soft-core cliches that usually wind up with him ogling the female form.
  8. This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
  9. Capital is too cynical to ever really suggest that redemption is possible. Not that anyone watching will even care.
  10. This summer Bullock is in the driver's seat of The Net, a sort of chase movie on the information highway from veteran producer-turned-director Irwin Winkler, and not only is the film a comedown, it's a far less flattering showcase for her talents as well.
  11. If for some reason you find yourself in a theater watching the martial arts adventure Man of Tai Chi...feel free to take a nap during the non-fight sequences.
  12. Tusk seems to harbor no grander ambitions than to create a gross-out gag.
  13. The Zero Theorem doesn’t fully earn the elaborately conceived scaffolding on which its relatively tame ideas are hoisted.
  14. In the end, Davis ends up a wasted resource. She does her best to elevate the material, but the story fails to live up to her considerable talents.
  15. The bigger surprise is just how clunky and unsatisfying this follow-up feels.
  16. Stenberg and Robinson are enormously appealing young actors, but charisma only goes so far in a story that manages to be, as directed by Stella Meghie (“Jean of the Joneses”), sterile and wildly far-fetched.
  17. Even at its lamest and most entitled, this sequel will most likely please fans of the first installment, chiefly because Bateman, Sudeikis and Day are, admittedly, often very funny together.
  18. The Brothers Grimsby is fitfully, sometimes outrageously, funny. But Cohen’s shtick of showing the backwardness and stupidity of unprivileged characters is starting to feel lazy, not to mention classist itself.
  19. Although her charisma is still undeniable, there’s also no denying that McCarthy is capable of much more than she’s allowing herself to do here. There comes a point when every force of nature starts to look just plain forced.
  20. The film by the stylish fantasist Guillermo del Toro looks marvelous, but has a vein of narrative muck at its core.
  21. Watching Addicted is like eating Cheese Whiz straight from the jar. There’s no nutritional value. It’s kind of embarrassing. But it does satisfy a base craving for cheap, immediate sensation.
  22. Even McAvoy’s reincarnation-obsessed Frankenstein can’t breathe vitality into this shallow adaptation, which careens from moments of horror to serious drama to attempts at comedy that don’t quite land.
  23. The Bronze is just another movie about overcoming arrested development. It’s not as funny as it tries to be, but, for a few, fleeting minutes, it leaves an impression.
  24. 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.
  25. Best of Enemies exists mainly as an occasion to replay the footage of Vidal’s smug taunt and Buckley’s seething response. It’s great television, but it has been available on YouTube for some time now.
  26. Ironically, Call Me Lucky, a worshipful new documentary profile of Crimmins by comic-turned-filmmaker Bobcat Goldthwait, has a little too much reverence for its irreverent subject.
  27. Fans of Greenaway’s work — a mix of the brainy, the controversial and the grotesque — won’t necessarily be surprised by any of this. They may, however, be disappointed at how little of it actually works.
  28. Say what you will about Dan Brown’s books. They may be, as some have noted, poorly written, formulaic and pretentious. But at least they hold a reader’s attention, in ways that this excursion — as sleep-inducing and rigidly predictable as a train ride — does not.
  29. Even as characters are tweaked and actors bring a slightly different energy than his other movies, The Best of Me is still the same mushy Nicholas Sparks adaptation with drama so overwrought audience members can’t help but laugh — at least until they’re sniffling during the closing credits.
  30. Too scary for very young children, yet too silly for most older fans of director Bryan Singer’s earlier forays into the Superman and X-Men franchises, “Jack” seems designed to appeal to a very narrow, and possibly illusory, demographic: the mature moppet.

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