Washington Post's Scores

  • Movies
  • TV
For 6,687 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Howards End
Lowest review score: 0 National Lampoon's Gold Diggers
Score distribution:
6,687 movie reviews
  1. A longwinded, predictable scenario.
  2. Even by its own please-the-mob standards, this movie is lacking.
  3. It continually crashes and burns on its own banality.
  4. Not a music video, not yet a movie, but more like an extended-play advertisement for the Product that is Britney.
  5. Smith and Jones seem like superannuated company men: They're going through the motions, but the zip is gone.
  6. The movie automatically pegs itself for the straight-to-video sci-fi rental shelf.
  7. The actual movie is the cinematic equivalent of cheap Chinese egg rolls: all flour and cabbage shreds, maybe half a nibble of pork.
  8. 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.
  9. 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.
  10. I found it a rough night at the flickers.
  11. Head-scratchingly ordinary, given Schwarzenegger's need to prove he's still a virile (i.e., non-aging) action hero.
  12. It's about as deep as electronic white noise.
  13. Between bad hair and tonal irregularity, the movie doesn't give you much to like.
  14. A second-rate romantic comedy.
  15. You can't make an epic about a mouse.
  16. Now and then sputters to comic life but more usually wheezes along.
  17. Tries so hard to be cool that it forgets to be alive.
  18. Dramatically and conceptually, the movie sits there, flat, naked and trying too hard with too little.
  19. This saved-by-an-angel story is redeemed mostly by Smith's comic instincts.
  20. Although filled with fey, flamboyant characters, the stereotype of the gay hairdresser seems to have been meticulously expunged.
  21. Its heart is vaguely in the right place.
  22. It orders you to love it. It demands love, which is the best way not to get it.
  23. The movie itself may be a species of Montezuma's revenge.
  24. All fire-and-brimstone bunk, a tired compendium of involuntary crucifixions, grim messages carved into human flesh, fly buzzings, ominous choral chants on the soundtrack and at least one head twisting.
  25. The baseball half of the story just slightly works. ... Nothing in [the other] half of the film works.
  26. Manages to make sex look like no fun at all.
  27. A cold, protracted and unemotional affair.
  28. It's zany. Actually, it's so zany it's almost creepy.
    • 52 Metascore
    • 30 Critic Score
    Its scope isn't broad enough to draw in the uninitiated.
  29. This latest, utterly gratuitous chapter in the saga of the wisecracking reptile hunter will add nothing to the ever-dimming reputation of the Subaru pitchman.
  30. A film that was made in China but has the soul of a '50s Hollywood melodrama.
  31. The story the film tells ruins the movie.
  32. It just never began to work for me, and the sub story behind the ghost story is far more interesting than the ghost story in front of the sub story.
  33. Crazy? Crazy is too mild a word by far to describe the twisted worm at play inside the skull of the Canadian director David Cronenberg -- And that craziness is given full vent in the vomitorium called eXistenZ.
  34. Fast and furious, shallow, empty, casually racist, merry, jaunty, silly and utterly weightless.
  35. It's difficult to concentrate on the story. Not that there's much to concentrate on anyway.
  36. Surprisingly uninvolving, the least effective of Neufeld's Clancy-based movies. Surely he was not looking for this kind of film: one that bombs literally and figuratively.
  37. Roll past this casino.
  38. Although it contains many visually compelling passages and some provocative moments, the movie is strangely banal and simplistic.
  39. Well, it could have been good. But this goofy homage to Kiss fans gets dry mouth pretty fast.
  40. It's too bloody to be funny and too silly to be dramatic and too self-indulgent to be anything other than what it is, one more bad movie.
    • 39 Metascore
    • 30 Critic Score
    Clumsily written and numbly performed comedy of yammers.
  41. But by the end of the movie -- which seems to last longer than the Crusades -- all the good stuff has dissipated.
  42. All dancing and hugging and no good.
  43. It's just silly, loud and goofy. The dragon needed a bigger part and the two stars smaller ones.
  44. Will satisfy only those who can't tell the difference between the good, the bad and the ugly.
  45. The frightening myths about adoption that run through Like Mike make even its happiest endings a little bit creepy.
    • 57 Metascore
    • 30 Critic Score
    Despite its noir references and evocations, this slick film, directed by Tony Scott from Quentin Tarantino's script, is a preposterously bloody mess, as is the plot.
  46. Made me feel like a Christmas goose being fattened for slaughter. Its force-fed diet of whimsy cloyed long before the eagerly anticipated romantic payoff arrived to put me out of my misery.
    • Washington Post
  47. The kid chews up the scenery like a baby T-Rex, egged on, no doubt, by director Agresti.
    • 37 Metascore
    • 30 Critic Score
    A kind of cinematic analogue of the Iran-Iraq war: It's overlong, it's hard to tell which one's the bad guy, and it's filled with lots of senseless carnage on both sides.
    • 35 Metascore
    • 30 Critic Score
    Surprisingly amateurish attempt at cross-cultural comedy.
  48. Should have been a smart bit of cinematic froth but instead sinks like an overworked souffle.
  49. There's nothing wrong with Uptown Girls that not seeing it won't fix.
  50. Simply painful to watch as the doomed vehicle it's trapped in comes whistling toward a fiery crash landing.
  51. It never makes much sense.
  52. None of them is nasty enough to be interesting, nor nice enough to be sympathetic.
  53. No darn good.
  54. Just a few guilty laughs, a predictable resolution and repeated close-ups of that dog jerking its head to one side, doing the cute thing.
  55. Suffers from melodramatic overkill.
  56. The movie wants to trade on atmosphere more than plot, but even the atmosphere rings false.
  57. By the film's self-congratulatory final shot, Stevie has become less a portrait of a sorry young man's difficult life than the story of auteurist arrogance and self-deception run amok.
  58. There's not much zest here, even with Mike Myers's energetic attempts to steal the movie as a cross-eyed flight instructor.
  59. Functional but tiresome.
  60. Gator never emerges as anything but a blatant and outspoken -- and virulently brutal -- jerk.
  61. It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
  62. So cheesy and cheap that it almost attains high camp.
  63. The psychologizing in Party Monster never goes deeper than what you might get out of Dr. Phil on a bad day.
  64. The notions of the good man's complicity through inertia and of innocence tarnished by association are ones that have been more powerfully explored before.
  65. Too infuriatingly quirky and taken with its own style to get down to telling a story.
  66. In the end, Gerry is beyond the simple question of pleasure. Seeing it may be no fun at all, but then discomfort is part of the price one pays in learning.
  67. What isn't so fascinating is this movie's absurdity of motivation. No one does anything that makes sense. No one seems real. When the actual perpetrator is uncovered, there is no enlightenment as to why the killing occurred.
  68. Thankfully, after its terrific start, Don't Say a Word transmogrifies so totally into Hollywood hooey that it's actually a relief. I'd hate to see a disturbance in the karmic perfection of Douglas's pitch-pure mediocrity.
  69. Someone forgot to remind Duvall to write an ending.
  70. Mainly, Femme Fatale is really about De Palma's three favorite things: women, movies and women. And you can either share his guilty pleasures in all their living, breathing, power-edited, overextended glory, or you can get on with your life.
    • 49 Metascore
    • 30 Critic Score
    Neither smart nor exciting enough to justify the effort.
  71. At once listless and overheated, giddy and utterly zipless, the current incarnation lacks not just the savoir-faire of its stylish predecessor but also the sex appeal.
  72. A leviathan bore, big, clunky and ponderously overplotted.
  73. We're really celebrating Hollywood's freedom to create biographies of anyone, no matter how high or low on the social ladder, and still come up with the same banal characteristics, messages and conclusions. In this sense, The People vs. Larry Flynt doesn't champion, so much as squander, freedom of speech.
    • 67 Metascore
    • 30 Critic Score
    It's an uninspired blend, integrating the boys from "Porky's" and the girls from "Foxes" into a vehicle resembling the worst of "American Graffiti" and the best of "Rock and Roll High School." [13 Aug 1982]
    • Washington Post
  74. An irredeemably transparent... DIRECT RIPPING OFF OF "SPEED."
  75. About as funny as digging your own grave in an unmarked part of New Jersey.
  76. In a movie as unrewarding as this, there's really only one burning question: When does the spanking begin?
  77. In the end, Unfaithful leaves you dispirited and grumpy: All that money spent, all that talent wasted, all that time gone forever, and for what? It's an ill movie that bloweth no man to good.
  78. A retread of material already thoroughly plumbed by Martin Scorsese.
  79. 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.
  80. Newman's cuteness aside, this movie feels long-winded.
  81. Everything in it is a cliche including the end.
  82. Big, dull and empty -- nobody associated with this production appears to have thought hard about storytelling.
  83. 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."
  84. Max
    Mad Max just sails off into nonsense.
  85. From the get-go, the story remains bogged down in its rather limited morass.
  86. It's piddling -- a hangdog little comedy with not enough laughs...its spirit rattles around inside it like a marble in an oil drum.
  87. Stuck in that no man's land between comedy and banal movie mob action, and it delivers on neither of these impulses with any force.
  88. At best, the movie is a problematic chamber piece; at worst, a misdirected, slightly misanthropic pretension.
  89. It's so over the top, the top isn't even visible in the rear-view mirror.

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