Washington Post's Scores

For 7,407 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Election
Lowest review score: 0 The King and I
Score distribution:
7407 movie reviews
  1. It's lewd, crude and socially irredeemable.
  2. Although the hallmarks of Rudolph movies can be found everywhere -- they don't add up to the usual magic this time.
  3. Most of the comedy, such as it is, consists of the uppity Chase acting "street" and the ghetto-fabulous Tiffany putting on moneyed airs. But, if you've seen the trailers, you already know that.
  4. A limp and exceedingly uninvolving melodrama.
  5. If its made-for-TV sensibility explains its chaotically blobby shooting style, it doesn't clarify a plot so painfully padded that it looks for laughs in strange digressive asides regarding bratwurst and coffee.
  6. It's empty of ideas, which is fine, but it's also empty of heat.
  7. The comic equivalent of microwaved leftover food -- and pretty stale at that.
  8. Something between an indiscretion and an atrocity.
  9. After watching this movie, which stars Robert De Niro, Harvey Keitel, Kathy Bates and Gabriel Byrne, I was moved only to find my own bridge to leap from.
  10. In short, Carrey's got nothing to bounce all that energy off of, not even a solid story line.
  11. Crazy, ugly and scary. In fact, a sense of the grotesque runs thought the film; an extended joke about Sandler's black, dead foot (from frostbite as a kid) borders on something you find in John Waters.
  12. All in all, High Crimes isn't worth the crayons it took to write the script.
  13. The scenario (written by Carl Binder, Susannah Grant and Philip Lazebnik) is disappointingly wan and obsequious.
  14. To call Lawrence a poor man's Richard Pryor libels not just Pryor but also the 33 million Americans currently living under the poverty line.
  15. Irony is the movie's escape hatch. It allows the filmmakers to stage maudlin bits and, at the same time, signal the audience that they're too cool to actually believe in them. Their cool is all-purpose, and it carries with it a note of genuine nastiness. They manipulate us into a sentimental response, then kick us in the teeth for buying it.
  16. As dull as the decor in a Motel 6.
  17. Lacks that outrageous effrontery that might have socked it to its intended audience.
  18. Do not be concerned if laughter trickles out of the scary parts or boredom creeps into the funny parts; this is to be expected.
  19. Clumsily under-written and feverishly overacted, it's as embarrassing to watch as it is perplexing.
  20. In this case, the adage would go something like "material, material, material," also known as the Nicolas Cage Rule: Good acting can't overcome bad taste.
  21. The movie isn't only boring; it's troubling:
  22. 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.
  23. It's hard to know who exactly Parental Guidance was made for.
  24. In striving for a combination of grit and grandeur, Leterrier misses a chance to make the kind of camp classic that could have endured for generations. Instead, it's a muddled disappointment.
  25. There isn’t one joke, sight gag or piece of slapstick tomfoolery that lands with any success or originality in Hot Pursuit.
  26. I would call the movie a trainwreck, except it’s really four or five separate trainwrecks.
  27. Blackhat is also one of the most visually unattractive movies I’ve ever seen.
  28. A more accurate title would be “Inept, Inadequate and Insipid Comedy.”
  29. Hafstrom largely ignores the progress made by his demon-banishing predecessors and delivers a palatable PG-13 thriller that's safe, soft and sinfully cliched.
  30. Absent any self-awareness by its protagonists, the best thing about Sundown is that it’s too dumb to be offensive.
    • 33 Metascore
    • 12 Critic Score
    A retread of just about every rom-com cliche ever turned.
  31. Slack when it should be tight, dull when it needs to be sharp, The Bounty Hunter represents a failed attempt to make an Elmore Leonard movie without having to pay Elmore Leonard money.
  32. It’s hard to know which of the film’s many flaws to cite first, so here’s one thing it does fairly well: scare the bejesus out of you. That’s assuming you have read nothing about the subject of vaccines and autism, and are of a generally lax and incurious mind when it comes to the rigors of scientific inquiry.
  33. Unsullied is wholly underwhelming, with atrocious performances and plot twists so implausible that they would be funny in a film less tedious than this.
  34. The only thing epic about The Legend of Hercules is what a failure it is.
  35. Piven is so in the pocket as the smarmy, aggressive, inappropriate Ari that, when the movie he’s in does little more than double down on the bro-ing out, the whiffed opportunities become all the more obvious.
  36. London Has Fallen is remarkable only because of how much worse it is than its inane predecessor.
  37. As it is, The Divide is simply noxious for noxiousness's sake. French director Xavier Gens and writers Karl Mueller and Eron Sheean almost seem to take a kind of perverse pride in seeing how far they can go.
  38. How on earth is it possible for one film to be so tiresome? Spring Breakers isn’t deadly dull despite all the nudity and violence, but because of it.
  39. Insipid, unfunny and cliche-ridden.
  40. There really is no other movie on Earth quite like it. And that's including "The Human Centipede: First Sequence," the 2009 horror film on which this dismal, nauseating and yet bizarrely artful sequel is based.
  41. Teen Wolf Too is nothing a jar of Nair wouldn't cure.
  42. The whole movie becomes such a pileup of detritus, whether it’s cop cars or plot points, that even something as important as rationale becomes an afterthought.
  43. The film is amateurish on almost every level.
  44. The only reason you'll feel any wrath is because you shelled out 12 bucks for this steaming bucket of half-baked plot, cliched dialogue and disappointing 3-D special effects.
  45. Vampires suck? That's a matter of opinion. But here's what inarguably, unequivocally does suck: Vampires Suck.
  46. As directed by Perry, The Single Moms Club goes for a mix of escapism and reality-based drama and winds up with a movie that can only be enjoyed via the running, snarky commentary that will inevitably scroll through most audience members’ heads as they watch.
  47. What Michael Bay did for the Hollywood blockbuster with his second "Transformers" movie, Jared Hess has now done for the low-budget indie with Gentlemen Broncos -- namely, stain an entire genre with a sense of soulless calculation.
  48. That's My Boy is radical only in its extreme laziness.
  49. "Welcome to the Rileys"? Thanks, but no thanks.
  50. It’s all so plodding and grim, echoed by the blandly percussive score by Ramin Djawadi.
  51. There’s a fundamental problem here. The movie relies on the instinctual human fear of death, but its message is that dying is a promotion.
  52. Despite its plentiful and playful sexuality, this dose of Spanish fly is anything but exciting.
  53. For the most part, Vacation is a sad, cynical rip-off of writer John Hughes’s source material. No one expects originality, but the new movie may end up making history: It’s already looking like the worst movie of the year.
  54. It is the perfect modern product: loud, banal, empty, frenzied, plasticized, flavorless, drab, violent in a bloodless way and sexy in a sexless way.
  55. Should never have been released, not even on video. It should have been placed in a hazardous waste container, encased in concrete and dumped into the Farrelly brothers' septic tank.
  56. Though R-rated, its real target audience is under 18 -- either in years or IQ points.
  57. A depraved, incoherent, instantly disposable piece of hackery.
  58. Another tediously sanctimonious message movie from Alan Parker.
  59. An uneven collection of bodily function jokes, facial gyrations, sexual jibes and pedestrian slapstick, Dumb and Dumber appears to have been conceived by the leading lugheads themselves.
  60. It's not brazenly bad or heroically bad or stridently bad. It's bad in all the old, dull ways of being bad: poor performances, absurd story, dreary special effects, witless dialogue and the excessive length of someone taking himself far too seriously.
  61. Don't even rent the DVD, it'll only encourage them.
  62. About half a notch above disaster.
  63. A noisy, impenetrable and totally nonsensical cogitation on the nature of firefighters and the sizzling "animal" they love...We just wish somebody would call 911 for boredom.
    • 38 Metascore
    • 10 Critic Score
    The "stone"-shtick gets mighty old after about 15 minutes. More than 30 screenwriters worked on the Flintstones script, and the result just proves the ancient saying about too many cooks.
  64. [Gere] seemed to be improvising his way from beginning to end, like he was disgusted with the actual script.
  65. Red Heat is poorly, or even indifferently, made. It's a joyless exercise, and too much angry resignation seeps in for it to be very funny or very entertaining.
    • 34 Metascore
    • 10 Critic Score
    The relentless vulgarities in Ghosts of Girlfriends Past would be almost tolerable if they were amusing, but Mark Waters's direction is so tentative that the film's single laugh happens more than an hour in.
    • 45 Metascore
    • 10 Critic Score
    This Hollywood Pictures production (basically, a Walt Disney adult venture) culls every Capitol-corruption cliche in the book for the dullest 90 minutes Murphy has ever appeared in.
  66. The result isn't merely ludicrous, it's something far worse. It's drab. It's uninteresting. It squanders Chan's uniqueness; it could even be said to squander Jennifer Love Hewitt!
    • Washington Post
  67. Shouldn't fool viewers into thinking it's anything but a pseudo-artsy piece of tripe.
  68. A blundering cringefest, thanks to unintentionally laughable dialogue, hackneyed writing and uninspired direction.
  69. The film degenerates into sophomoric name calling and a brand of insult humor that would embarrass Don Rickles.
  70. A third-rate love story.
  71. It's something no one should watch.
  72. A plodding, aggressive film that is neither engaging, disturbing nor funny.
  73. Consider the title your best advice.
  74. Father of the Bride, Part II is a virtual avalanche of cheap emotion. Short on comedy but long on maudlin sentiment, this sequel stumps so hard for the traditional values of home, hearth and family that any possible entertainment value is canceled out.
  75. Far and Away is such a doddering, bloated bit of corn, and its characters and situations so obviously hackneyed, that we can't give in to the story and allow ourselves to be swept away.
  76. It has no moments of athletic grace amid the chaos, no apparent sense of strategy. It's basically just mayhem set to rock music.
  77. The only way a self-absorbed treatise like this can get any kind of audience (not to mention distribution) is to cast famous people in it.
  78. Eddie Murphy's directorial work is amateurish at best. And as a performer he looks as if he is in agony, as if his mother made him stand in front of the camera for punishment.
  79. This one's for Silverstone fans only.

Top Trailers