Washington Post's Scores

  • Movies
  • TV
For 6,407 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Leopard (re-release)
Lowest review score: 0 The King and I
Score distribution:
6,407 movie reviews
  1. Collapses under the weight of its own pretension, a victim of misogyny trying to pass itself off as female sexual empowerment.
    • 57 Metascore
    • 30 Critic Score
    The script is much like a nine-inning sitcom that uses an obvious formula to tell a familiar story while garnering cheap laughs.
  2. Like so many technological marvels, at the human level it's not only merely dead, it's really most sincerely dead.
  3. A snooze, despite all the sex and other gunplay.
  4. It tries unsuccessfully to make a wry gumshoe noir out of an overarching, cross-sectional political diagram.
  5. Ghost suffers most from a distinct lack of anything, well, cinematic.
  6. One hackneyed, inauthentic, predictable scene after another.
  7. There are some very funny passing lines, but the movie's too uneven to enjoy.
  8. Director Howard is so mesmerized by the flames, he squirts formulaic lighter fluid over everything. A conflagration of hyped-up movie cliches, courtesy of George Lucas's Industrial Light & Magic special effects shop, scalds your face.
  9. The firefighting equivalent of an Army recruitment commercial.
  10. This movie just doesn't match its predecessors.
  11. A few minutes of inspired lunacy aside, The Yes Men is largely a case of the same old preachers preaching to the same old choir.
    • 76 Metascore
    • 30 Critic Score
    Ultimately undermined by the fact that the two rock bands Timoner chose to focus on -- the Brian Jonestown Massacre and the Dandy Warhols -- simply don't matter as much as she thinks they do.
  12. Unfortunately, the drama operates on a see-through, easily shatterable metaphor: the frigidity of the WASP soul. [17 October 1997, p.N32]
  13. Goes nowhere fast.
  14. So programmatic, so dogged in hitting the right steps at the right time that it completely lacks spontaneity.
  15. As Primer progresses, it just gets murkier and the experience of it more drudgelike.
  16. Between them, Clooney and Kidman would still need a third party to work up a personality. In fairness to both, they aren't given much to work with.
  17. Absolutely awesome in its relentless mediocrity.
  18. It's just sort of trying.
  19. Saw
    But humans who live above ground, including horror fans, will find themselves only fitfully entertained and more consistently appalled.
  20. For all its art-house posturing, for all its exploration of the taboo topic, Birth is anything but good.
    • 49 Metascore
    • 30 Critic Score
    Occasionally amusing, technically lovely but ultimately dated.
  21. Although this script starts off with great zest, it's ultimately a disappointment.
    • 38 Metascore
    • 30 Critic Score
    A purported heist flick that sucks all the style out of stealing.
  22. One singularly unbecoming character, who should, by rights, forever remain a "singleton."
  23. Rated PG, which must stand for "particularly gullible," it's "Raiders of the Lost Ark" for people who slept through American history class.
  24. Like every other second of more than 10,000 seconds in Alexander, it doesn't engage in the least.
  25. It would be one thing if Christmas With the Kranks were a satire on the assaultive, bullying nature of contemporary Christmas celebration in this country, but it's not. It's an ugly glorification of it.
  26. Everything is tearful confessions, angry interrogations and breakups. But there's nothing underneath.
  27. Stone's film is a case study in cultural analysis that aims at too much and achieves too little.
  28. So taken with its own love of cinema, it forgets to lead you down the necessary dramaturgical path to make you fall in love, too.
  29. The movie is loud, dark, bumpy and not even a little fun. You emerge into daylight bruised and battered, suffering a case of movie abuse.
  30. 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.
  31. This vainglorious biopic about Bobby Darin is really about what the '60s pop singer and actor means to Kevin Spacey.
  32. Never manages to achieve the balance between authenticity and eccentricity.
  33. 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.
  34. Traffics in nearly every trite cliche of the "colorful" South one can think of, from its pseudo-Gothic aesthetic to its overripe dialogue.
  35. It grinds on and on without mercy. You're in the cross hairs. There is no escape. Where is that Secret Service when you need it?
  36. Cut-and-dried sci-fi thriller.
  37. The movie's fundamental problem is that Cusack's character isn't very interesting.
  38. Becomes a strung-together collection of interesting, semi-interesting, boring and sometimes embarrassing (seemingly improvised) moments from the cast.
  39. 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.
  40. It has as much of an ax to grind as the humorless and misguided bureaucrats it mocks.
    • 62 Metascore
    • 30 Critic Score
    So chock-full of stereotypes as to be a filmic Southern Country Safari.
  41. A fascinating premise. And yet, the movie, directed by Bruce Beresford, never quite blooms.
  42. Best news: over in 87 minutes.
  43. In a movie whose texture is supposed to be hard-edged realism, the characterization seems a little too pat and jaunty.
  44. Attal, who resembles a young Robert De Niro, seems as addled as a director as his character is as a husband, throwing all manner of distractions onto the screen in order to divert the audience.
  45. Unfortunately, the more traditionally drawn 2-D human characters are as flat, in every sense of the word, as can be.
  46. Hampered by Niall Johnson's script, which is often confusing, muddy and ultimately cliche-ridden.
  47. What it suffers from most is the sense of offhand storytelling that lies halfway between creative laziness and cost-cutting sloppiness.
  48. The film degenerates into an overly simplistic satire -- with moon-worshiping, Guatemala-visiting, lesbian aborters on one side, and fetally obsessive, meat-eating, gun-toting Jesus worshipers on the other.
  49. The humor's a tad too raunchy for the kids, and the predictable plot won't win over any of the parents.
  50. Amusing premise, not-so-amusing execution.
  51. Humorless, charmless and flat.
  52. The film has no discipline, but that's okay because it has no suspense, either.
  53. Lacks "spark."
  54. Stumbles mindlessly in all directions.
  55. An overwrought gangster fable.
  56. Wes Craven, who started the "Nightmare on Elm Street" series, should know a lot better.

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