Washington Post's Scores

For 7,653 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 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mustang
Lowest review score: 0 Spice World
Score distribution:
7653 movie reviews
  1. Audiences who have avoided the multiplex these last few years because of the garbage peddled there are the only ones for whom this overly familiar "Walk" will be memorable.
  2. Ghost suffers most from a distinct lack of anything, well, cinematic.
  3. Feels like a manufactured Asian "Chocolat," which drives the label 'art house movie' even further into mainstream banality.
  4. As long as it stayed mainstream dirty it was okay, but when it got into perversions the American Psychiatric Society hasn't even named yet, it left me behind.
    • 38 Metascore
    • 30 Critic Score
    With the exception of Carrie and The Shining, the novels of Stephen King have not made the transition to film particularly well, so it should be little surprise that Pet Sematary is another DOA -- Dog on Arrival.
  5. This movie is about the worst thing Chan has done in the United States.
  6. There is something disturbing about yet another iteration of what's become one of the movies' creepiest conventions, in which the developmentally disabled are portrayed with almost supernatural powers to humble, teach and ultimately redeem their mentally "superior" (read: morally inferior) friends, family and acquaintances.
  7. Friends, Washingtonians, countrymen, I come not to praise Gladiator but to bury it.
  8. Why sit through a lesser imitation, when you could just rent "Heathers" and those other movies for a far more enjoyable time? Drop-dead bitchery? Been there, done that.
  9. Falls flat at every turn.
  10. Even by Disney's formulaic standards -- is about as cut and dried as the phone book.
  11. As the film's boo! moments get spookier and more frequent, Godsend gets more and more inane.
  12. The movie drains Cole and Linda Porter of blood and fills them with embalming fluid.
  13. Although the material is conventionally manipulated to provoke terror by exploiting Cujo as a mad dog--a four-footed Jaws as a shameless matter of fact--moviegoers are likely to feel too appalled at the way a sick animal is systematically neglected.
  14. Trudging nobly under a mantle of impeccably earnest intentions and a fussy, too-quaint-by-half production design, Honeydripper lags and drags to its utterly predictable end. There's not a spark of spontaneity or soul about it.
  15. Sadly, the filmmakers haven't given viewers enough context or information about their protagonist to know whether he's utterly free or utterly unmoored -– or to care very much either way.
  16. The script's a plodder, and the acting's unbearably stilted. The movie's intentions are like the starry constellations that inspire the eponymous hero: out of reach.
    • 43 Metascore
    • 30 Critic Score
    Very much the cheap knockoff of its prototype, but not half as visceral.
  17. Viewers anticipating side-splitting guffaws will be disappointed: Stuck on You is a strangely lackluster, flaccid string of fitfully humorous episodes.
  18. If laughter is the best medicine, Patch Adams is but a sugary, fitfully amusing placebo.
  19. Loud, dumb and obnoxious.
  20. Shockingly inert.
  21. It's hard to tell if this thing's serious or parody and, if it is parody, whether or not it's intentional. Is it a winky joke, for instance, to have lightweight performer George Hamilton as Pacino's business attorney, or just ridiculous casting? Hamilton's performance points to the latter.
  22. Sans emotional depth or narrative drive, Lee's latest flick is little more than a profane litany punctuated by Oscar-caliber orgasms.
  23. 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.
  24. 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.
  25. The underwhelming, only fitfully amusing movie left me hungry for more.
  26. The movie and its star just aren't that funny.
  27. It's a movie by a true believer in anti-globalization, and it may win a few converts, but not among devotees of convincing, capable cinema.
  28. The result is cutesy but harsh, a hybrid of saucer-eyed anime and square-jawed angularity that brings to mind an edgier "Pokemon."
  29. I literally did not count a single laugh in the whole aimless schlep, except for the hucksters who made it, on their way to the bank.
  30. Tirelessly modish, hyper-glossy, super-superficial. It's also cacophonous. And, for all of its drum-beating for brain power, dumb.
  31. It just isn't a Meg Ryan movie unless she's got male.
  32. So solemnly paced and deliberately performed that it seems to solidify before your very eyes.
  33. There's no question the movie's entertaining. But the blatantly schematic depictions of black and white, liberal and hawk, and other tiresome dichotomies turn A Time to Kill into the moral equivalent of a cockfight.
  34. It seems such a waste to go onto the actual streets of Lower Manhattan and shoot a movie this stupid. Think of the money, the logistics, the interruptions in the city's life -- all that trouble for what? For this? For shame.
  35. You are likely to encounter more surprises on the way to the bathroom each morning than you do in this film.
  36. Just another thriller, utterly disposable.
  37. Kari may eventually go far, but for now he's one of the less interesting inhabitants of international art cinema's disaffected-youth ghetto.
  38. It's hard to know which is more annoying: The fact that writer-director Reverge Anselmo makes Dori's schizophrenic look like little more than a cute, sexually available lush or that he makes Mark's Marine act like a jarhead with nothing inside except fireflies.
  39. Best news: over in 87 minutes.
  40. Amusing premise, not-so-amusing execution.
  41. Humorless, charmless and flat.
  42. An aggressively stupid entry in the family-adventure genre from Jerry Bruckheimer.
  43. It's laughably stupid, only fitfully scary and relatively harmless summer fun – if you're 12 years old, in which case you probably aren't supposed to be going to movies like this anyway.
  44. Though Cedric, for all his nimble portliness, is no Gleason, there's plenty of talent to be found here. Too bad it's left to fend for itself against a raging mechanical bull of a script.
  45. 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.
  46. But when mechanical plots are a drama's main engine, we look for something else to divert us, preferably good comedy. That's in short supply, unfortunately. And it's no fun to sit through the movie's retread Woody Allenisms.
  47. Fractured, tentative, oh-so-artsy and very much in the style of Wong's previous Hong Kong-set boy-meets-girl movies. But this time, the effect is contrived: a star-driven pseudo-indie affair that will please neither celebrity worshipers nor cineastes.
  48. Although Ryan is cannily cast against type, she doesn't bring much more than muttery incoherence and nudity to the role.
    • 39 Metascore
    • 30 Critic Score
    Clumsily written and numbly performed comedy of yammers.
  49. The question is why the time, talent and treasure of such energetic and even gifted artists have been marshaled in such a disgusting and trivial genre exercise and what viewers are supposed to get out of it. Isn't life hard enough?
    • 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.
  50. 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.
  51. Bland, workmanlike and instantly forgettable.
  52. Doubling duties as director and cinematographer, Peter Hyams seems to have tossed the former for the latter. The Presidio, purported cop thriller, looks great. It is, in fact, less filling. The maker of "Outland" and "2010" infuses a San Francisco setting with evocative misty grays, but screenwriter Larry Ferguson's dull doings hang thicker than smog.
  53. About as funny as malaria.
  54. It continually crashes and burns on its own banality.
  55. Let's wait for a movie where they do get it all right: story, acting and dancing. It'll happen, just not this time.
  56. Awash in hackneyed old-time secrets and hydrophobic metaphor, never consumes us as it should.
  57. Collapses under the weight of its own pretension, a victim of misogyny trying to pass itself off as female sexual empowerment.
  58. It's not really a movie. I suppose it's what could be called a recorded behavior.
  59. For anyone old enough to cross the street without holding hands ... the movie's a reconditioned lemon trying hard to hide its flaws.
  60. Between bad hair and tonal irregularity, the movie doesn't give you much to like.
  61. The fact that there's nothing wrong with it -- that there's nary a scenic detail or scrap of dialogue or performance that isn't utterly on the nose -- is precisely what's wrong with it.
    • 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
  62. It's all wildly implausible and occasionally fun, but it could be so much better if director Randall Miller (who co-wrote the screenplay) had thrown in a little more character development and excised a half-dozen crazy plot twists.
  63. A jarring amalgam of sitcom goofiness and uncomfortable ooginess.
  64. Unfortunately, the drama operates on a see-through, easily shatterable metaphor: the frigidity of the WASP soul. [17 October 1997, p.N32]
    • Washington Post
  65. To introduce an archetype like this to western audiences -- as the world weathers culturally and religiously demonizing times -- may have been worth this whole flawed movie. Too bad the story didn't just start with him.
  66. It's too bad the filmmakers didn't take a breath, look at the rushes and see what a comedic gem they had. With just a few tweaks, The Merry Gentleman could have made a wickedly funny parody of the over-earnest, lyrically hard-edged indie movie. But it's too late for do-overs.
  67. Equally earnest and unconvincing.
    • 37 Metascore
    • 30 Critic Score
    This movie isn't a thriller, it's an insomnia killer.
  68. On the whole, it feels like a cross between a PBS special hosted by a series of low-rent Deepak Chopras and an infomercial for self-help audio tapes.
  69. The ultimate in deja viewing:an overfamiliar and exasperating game of cat-and-mousie.
  70. Pride and Glory would be risible if it weren't so reprehensible.
  71. It feels like a retread of several better movies, with a nastier, more bitter edge.
  72. The girls in 'Traveling Pants' are only mannequins wearing someone else's clothes. They don't get inside your head, let alone your heart.
  73. The overall sense, however, is of a movie coasting on an obvious and somewhat flimsy premise, to which no one thought to bring much else besides Nicholson and Freeman.
  74. Gets more operatically farcical (most of it unintentionally so) by the minute.
  75. There's a little too much over-the-top drama, as well as superfluous detail, in this Icelandic film.
  76. Fails because of its gratuitous rape and violence and also because of its pretentious and intellectually one-dimensional grounds, which make the violence at the end feel even worse.
  77. The effect isn't just frenetic, unfunny and dull. It's kind of creepy.
  78. Soccer needs this movie like Georgia needed "Deliverance."
  79. Roll past this casino.
  80. The kid chews up the scenery like a baby T-Rex, egged on, no doubt, by director Agresti.
    • 52 Metascore
    • 30 Critic Score
    What's supposed to be a deep examination of the transcendence of love and art and poetry turns into another shallow film about how repressed the British are.
  81. Now and then sputters to comic life but more usually wheezes along.
  82. It winds up being tuneless, unfunny and, despite its strenuous efforts, not terribly sexy.
  83. Has so little going for it, you wonder if you've missed something.
  84. Despite its impeccable acting and subtle backdrop of the Sept. 11, 2001, attacks, The Event lets its message overwhelm its emotion.
  85. Allen, who's a natural charmer, seems to be at half-strength here.
  86. One singularly unbecoming character, who should, by rights, forever remain a "singleton."
  87. For the most part, Daredevil doesn't take a single dare; it travels the road much trod, even if it's through the midtown air.
  88. A series of cutesy but flat-footed jokes leading up to a foregone romantic conclusion.
    • 62 Metascore
    • 30 Critic Score
    Behind the trademark fancy package is a troubling sensibility, too. Spielberg seems unable to come to terms with anything real.
    • 25 Metascore
    • 30 Critic Score
    To that long list of third- and fourth-rate comedies we can now add Sorority Boys.
  89. All in all, it's like a bachelor's apartment: a complete mess.
    • 43 Metascore
    • 30 Critic Score
    The result doesn't really work. The music videos don't seem connected to anything, and there's not nearly enough about the actual victims of the trade. But it's a documentary with its heart and its outrage in the right place.
  90. It may give many viewers a licentious flutter, but the highbrow ingredient -- although it desperately wants to be there -- is missing.

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