Washington Post's Scores

For 7,940 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Time Bandits
Lowest review score: 0 Formula 51
Score distribution:
7940 movie reviews
  1. The “Insidious” franchise, after three attempts to exorcise its real demons, still can’t seem to shake what really haunts it: the ghost of B-movies past.
  2. The depiction of an always energetic and often furious Breitbart may please the man’s followers. But Marcus makes little effort to illuminate Breitbart’s character or motivation, so this high-pitched portrait ends up a little flat.
  3. There’s no doubt that Aniston deserves more roles like this one but, with luck, in less maudlin, more surprising movies.
  4. The Hateful Eight never lives up to its intriguing opening minutes and provocative premise, its wide-screen canvas wasted on a talky, claustrophobic chamber piece that descends, in due Tarantino fashion, into a mean-spirited slough of bloodshed and mayhem.
  5. The Christian-themed Where Hope Grows wears its heart on its sleeve, hawking its message of salvation through faith to anyone who’s in the market for cheesy uplift and saccharine sentiment. It’s a soft sell, to be sure, but it’s salesmanship all the same.
    • 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.
  6. Baby Boom is an '80s fable based on a beer ad philosophy.
  7. Cute without being especially clever, Warm Bodies is almost as pallid and as brain-dead as its zombie antihero.
  8. There ought to be no lack of firepower in telling this shameful tale. Too often, however, Bitter Harvest is guilty of overkill.
  9. At times, Unfriended really clicks — but ultimately, it’s a drag.
  10. Despite all the mayhem, The Hitman’s Bodyguard is a surprisingly bland dish.
  11. Monster Hunt has visual appeal to spare, but the allure ends there.
  12. Reiner assembles a square meal of rom-com pleasure points, but it’s bland, by-the-numbers and not particularly memorable.
  13. Writer Alan Sharp gets so caught up in the legend and the lush language that he doesn't seem to know he's written "Death Wish" in kilts.
  14. A second-rate romantic comedy.
  15. The only impressive thing about it is the monotony and thoroughness with which it replicates cliches from older, better movies and hammers them into pop alloy to an up-with-me beat beat beat of its musical score.
  16. A grisly, often cynical piece of work whose joyless, aggressive spirit is made even less appealing by its soulless visual style.
  17. 9 Songs inadvertently proves just how limited experimentation for its own sake can be.
  18. The best reason to see The Rose is to be in a position to relish the inevitable parody on "Saturday Night Live." Here's a sitting turkey that virtually sits up and begs to be plucked. [8 Nov 1979, p.F1]
    • Washington Post
  19. Put another movie on the barbie, mate; maybe it'll be better.
  20. It's a soap opera posing as moral outrage.
  21. Sylvia plays it safe, and in doing so it becomes little more than just another domestic melodrama devoid of life and, of all things, poetry.
  22. With no real comedy to enjoy, it's torture to watch Diesel undergo a predictable change from emotionless soldier to loving family man. Makes you want to spit out your pacifier in disgust.
  23. Regardless of the cute little hats and clam-diggers she wears, it's impossible to believe Kidman as a breathless ingenue; that relentless drive and steely Kidmanesque determination keep jutting through the cotton in flinty, sharp-edged shards.
  24. A cold, protracted and unemotional affair.
  25. In Chaos Theory, Reynolds's performance is taut, crabby and tense. And his beard and glasses, which intensify those already narrow eyes, suggest a mad bomb-builder rather than a hapless soul with whom we can identify.
  26. The director, Patricia Rozema, has a rare talent: She gets third-rate performances out of first-rate performers with almost startling efficiency. All are bland, some hardly exist at all, and as performance, the whole thing seems a waste.
  27. 1941 represents an appalling waste of filmmaking and performing resources. As one would expect, Spielberg, who directed "Jaws" and "Close Encounters of the Third Kind," sustains a high energy level. But the energy is expended on material that is pointless at best and occasionally hateful. [15 Dec 1979, p.C1]
    • Washington Post
  28. Although filled with fey, flamboyant characters, the stereotype of the gay hairdresser seems to have been meticulously expunged.
  29. There's some cool sword-fighting. But still, it's junk.
  30. Sloppy compendium of filthy jokes and lowbrow sight gags.
    • 14 Metascore
    • 30 Critic Score
    We don't have much space to tell you about Glitter, so we'll be blunt. This star vehicle for singer Mariah Carey is primarily a showcase for her breasts.
  31. So rancid is Brooks's fury that it's clouded his judgment, so that each of his main characters is a stereotype of the most broad-brush, malodorous nature.
  32. The cast is too good for the script and the script is too good for the director and the director is too good for the horny dog jokes.
  33. Class, a sexual disillusion acted out at the prep school level, would be represented far more accurately by the one-word title "Crass." [22 July 1983, p.C4]
    • Washington Post
  34. The exuberance of the Rugrats seems nullified by the effete quirkiness of the Thornberrys.
  35. While director Aronofsky pistol-whips your attention with his style, the characters (mostly relegated to human mannequins in Aronofsky's visual schemes) suffer big time.
    • 40 Metascore
    • 30 Critic Score
    There are two dance-offs, multiple fat jokes and one sight gag using eye boogers, a heretofore ignored bodily fluid. These are the highlights.
    • 31 Metascore
    • 30 Critic Score
    With all the dog dung in Envy, it's almost too easy to generalize that it stinks. But it does, unfortunately, despite the big-name actors in its cast.
  36. Less a movie than a meticulously, tediously accurate Civil War reenactment committed to celluloid.
  37. The film oozes sentimentality, soap-opera bathos and clumsy cribbings from the Frank Capra book of small-town values. Those are its good points.
  38. A lowbrow, only fitfully amusing comedy.
  39. 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.
  40. It just doesn't work...This isn't a blend of modern and classic so much as a collision.
  41. A 90-minute confessathon minus the bleeped-out cuss words and pixelated breasts.
  42. A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
  43. The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
  44. This movie just doesn't match its predecessors.
  45. The movie doesn't have the energy to be truly horrible. It's too muted and enervated. But it's a somewhat tedious thing to sit through.
  46. The inside story is weak, dull and head-poundingly boring, and the outside story is only slightly better, thanks to the lukewarm likability of its two stars.
  47. A boilerplate melodrama whose good guys and bad guys are so baldly drawn they could have been conceived by Friz Freleng.
  48. 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.
  49. The result is a script so needlessly complicated that it defies comprehension.
  50. Rated PG, which must stand for "particularly gullible," it's "Raiders of the Lost Ark" for people who slept through American history class.
  51. It's a movie with the exciting parts cut out.
  52. Cloverfield is a relentless, I-thought-my-eyeballs-were-bleeding exercise in visual disorientation.
  53. It's just so darn annoying to watch this attractive, seemingly smart woman throw her life away for some (admittedly rather hot) sex in the greenhouse.
  54. Most of the humor in The Pink Panther derives from Martin's silly French accent, especially when he tries to pronounce the word "hamburger." But zat joke, she ees not funny. And The Pink Panther ees, how you say, ze real dog.
  55. None of them is nasty enough to be interesting, nor nice enough to be sympathetic.
  56. The loudest, trashiest, stupidest, cheesiest celebration of ritualized male aggression of 2004.
    • 43 Metascore
    • 30 Critic Score
    Stephen King is a novelist, not a screenwriter. Which may be worth remembering on the admittedly slender chance that you go to see Needful Things for its dialogue, which is by turns cheap, cute, histrionic, profane and derivative.
  57. 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
  58. Perhaps as a publishing phenomenon the concept works, but on-screen it's pretty dull, with good actors in bad roles and bad special effects.
  59. So tame and limp, it may actually give mothers-in-law a good name.
  60. Vaughn's con-man jive doesn't get much play in this one; he spends most of his time as a bitter creep, and the writing (by Dan Fogelman) isn't sharp enough to make the hipster-at-the-North-Pole theme pay off in any meaningful way.
  61. Directed by Vincent ("A Map of the Human Heart") Ward, who is either a genius or a crackpot, and derived from a long-ago novel by Richard Matheson, the film is overproduced and underpopulated, with either characters or ideas.
  62. Mr. Whipple squeezing his Charmin is scarier than this phony baloney computer effects-driven anaconda.
  63. The script of Three Amigos (Martin's collaborators were producer Lorne Michaels and singer Randy Newman) plays like it was slapped together by a few friends with a tape recorder enjoying a charming weekend at the beach. You can't tell one amigo from another, the gags are silly (a "singing bush") and far between, the dialogue full of inane wordplay. Sample: "We could take a walk and you could kiss me on the veranda." "The lips would be fine."
    • 60 Metascore
    • 30 Critic Score
    Cloyingly, Biggie narrates his tale from the grave. It's a device that feels irksome and condescending.
  64. So rich in processed sugar, canned sentiment and schmaltz, I thought I was going to throw up.
  65. You'll be rooting for these people to get slaughtered out of sheer boredom.
  66. Torpid, syrupy melodrama from the Chinese director of 1993's "Farewell My Concubine."
  67. Although the movie has its moments, it's a tearjerker that jerks too hard.
  68. Will satisfy only those who can't tell the difference between the good, the bad and the ugly.
  69. It isn't so much a movie as a superheated, highly conductive miracle substance for the pure transmission of masculine aggression and misogyny.
  70. The film doesn't even cut it as cheap escapism.
  71. The suspense is laughably absent.
  72. The script boasts more writers than the computerized menagerie's got megabytes, but they haven't come up with much variety or humor in what is essentially a string of catastrophes.
  73. Smith and Jones seem like superannuated company men: They're going through the motions, but the zip is gone.
  74. That mind-bending, mystical business was better handled in such films as 1990's "Jacob's Ladder."
  75. The movie is so disturbing that it seems nearly blasphemous. I wouldn't wish it on an anthrax spore. After all, anthrax has feelings, too.
  76. You can't make an epic about a mouse.
  77. Where is the suspense part? There is no suspense part. Suspense demands clarity of motive and action, and this screenplay never provides it.
  78. the movie comes on as a novelty item, meaning it's so full of disparate parts and so unable to approach coherence, it just sits there and burns out.
  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. At best, the movie is a problematic chamber piece; at worst, a misdirected, slightly misanthropic pretension.
  81. The film's maudlin focus on the young woman's infirmity and her naive dreams play like the worst kind of Hollywood heart-string plucking.
  82. A fascinating premise. And yet, the movie, directed by Bruce Beresford, never quite blooms.
  83. In reality, Eros is a letdown, a collection of bagatelles that, with one exception, fails to live up to its promise.
  84. 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.
    • 41 Metascore
    • 30 Critic Score
    The Secret Agent, with its hemmed-in shots, feels like a TV production; what is said takes precedence over what is done. Even in the writing department, Hampton founders. [06 Dec 1996]
    • Washington Post
  85. The movie, as its title suggests, means to be one of those Tarantino-esque in-your-face jobs, amusing on the audacity of its outrageousness. Here's how "outrageous" it is: Zzzzzz-zzzz.
  86. It's part travelogue in Hell, part ineffectual weepie.
  87. While the younger Van Peebles certainly looks the part, Baadasssss! never feels like anything more than kids playing dress-up.
  88. There's a sense of mystery in this purply palette and one of majesty in the landscapes, but the drama of the drawings is never really echoed by the skimpy and predictable story.
  89. The new Dutch film Black Book manages to turn World War II into a large piece of cheese. A lurid, pulpy, slightly perverse potboiler, the movie suffers mainly from its utter lack of seriousness.
  90. May be ambitious in its genre-defying abandon, sideswiping science fiction, satire, film noir and melodrama along the way, but it's also exasperatingly convoluted, self-amused and politically sophomoric.
  91. An inert, sloppily written melodrama as grim and featureless as its frozen Midwestern setting.
    • 41 Metascore
    • 30 Critic Score
    Has John Carpenter lost his mind or just his talent? On the heels of In the Mouth of Madness comes the director's rehash of the 1960 classic, Village of the Damned. Unfortunately, Carpenter simply makes a hash of it.
    • 36 Metascore
    • 30 Critic Score
    Once again, John Rambo guns amok in the name of American democracy, but he packs less dramatic firepower than last time. Rambo III, a poorly paced, much less involving show of guns and machismo, makes you miss "Rambo II" (okay, "Rambo: First Blood Part II").

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