Washington Post's Scores

For 7,284 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: 59
Highest review score: 100 The Crying Game
Lowest review score: 0 Zoolander 2
Score distribution:
7284 movie reviews
  1. Mark Childress, who wrote the screenplay based upon his book of the same name, would have been better off leaving this Southern Gothic between two covers.
  2. Nobody hits the jackpot here, certainly not filmmakers Michael and Mark Polish, whose audacious, empathic first film, "Twin Falls Idaho," showed such promise.
  3. Unfortunately, The Man makes the mistake of assuming casting is all it takes to make a good comedy.
  4. If you're mocking holier-than-thou-ness, you can't very well strike a hipper-than-thou tone.
    • 55 Metascore
    • 30 Critic Score
    Despite Stallone's bantamweight attempts to insert, like, character into the fifth Rocky, it's the same old fight with the same old round of regulars. It seems silly wasting money on actors when the same could be achieved with Muppets. Rocky has little to do except shuffle around and mutter "cute" Rocky t'ings.
  5. A train wreck of a film lying inert where the tracks of the Feel Good Line cross the Path of Good Intentions.
  6. This movie is a predictable, gruesome piece of business.
  7. The story, which features an apparently lobotomized Guy Pearce as an opportunistic explorer and hunter who learns the errors of his ways, is deeply dull.
  8. It's less a children's movie made for contemporary children than a children's movie made for people who still remember, and pine for, how children's movies were made 50 years ago.
  9. May look good cavorting prettily on deck, but ultimately it deserves to walk the plank.
  10. Sadly, this movie is a far cry from the atmospheric, even thoughtfully crafted original, which made you truly scared for the unkempt, everyman victims. But this latest version, though just as grisly, is literally hackwork, and stars a forgettable, airbrushed cast of slaughterees.
  11. The film's moral commentary is De Palma redux: same old Brian enjoying the peeping, bringing us into the guilt zone, then saying shame on all of us.
  12. A movie marred by a flaccid script, listless pacing, a plethora of cutesy-poo gags and Ray Romano.
  13. Weitz co-directed the wonderful "About a Boy" in 2002, but in "Dreamz" -- a tediously facile satire -- his comic instincts fail him.
  14. An endless, virtually laugh-free pastiche of Aaron Sorkin by way of Aaron Spelling, Chasing Liberty features Mandy Moore trying so strenuously to be the next America's Sweetheart that she almost pops a vein.
  15. The movie automatically pegs itself for the straight-to-video sci-fi rental shelf.
  16. It's just a gimmick, right down to its Washington release date.
    • 38 Metascore
    • 30 Critic Score
    Weakens, dilutes, disinfects and otherwise undermines the legacy of Tobe Hooper's 1974 original.
  17. 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?
  18. Much of the movie -- which Murphy wrote with a small posse of collaborators -- is taken up with the torturously dull, not to mention unbelievable, romance between Norbit and Kate (a disappointingly lackluster Newton) and the tedious agenda of Cuba Gooding Jr. as a schemer-manipulator.
  19. The film, like the cheap double-scotches quaffed down by the central character, leaves a distinctly sour aftertaste that's hard to wash away the morning after.
  20. The parodistic romantic comedy makes the fatal mistake of so much middlebrow satire: It becomes that which it mocks.
  21. Could have been a sensation if a director with a smidgen of moviemaking instinct had taken the helm.
    • 32 Metascore
    • 30 Critic Score
    Perhaps the best thing that can be said about I Love You, Beth Cooper is that the title is correctly punctuated. Beyond that, the movie is a disappointingly flabby teen flick.
  22. Angel-A is counterfeit art-house chic writ large -- a French film that fails to produce the ineffable charms of the yesteryear movies it brazenly imitates.
  23. If it weren't for Sharif's extraordinary presence, there wouldn't be a cherishable moment in the movie.
  24. It never makes you laugh that hard. Not even close. And so the thing becomes a bloody assault on the senses that commingles atrocity with tedium.
  25. These storied 13 days feel like the Hundred Years War.
  26. This romantic melodrama ... doesn't even get to first base.
  27. A retread of material already thoroughly plumbed by Martin Scorsese.
  28. A disappointingly dull thud of a fantasy.
  29. Ultimately undone by its sheer busyness. The screenwriters never get the story to settle down, and it becomes a case of one damn thing after another.
  30. The problem is that director Peter Berg, aided and abetted by Smith and Theron and third banana Jason Bateman, seem to have made it literally, not realizing its out-of-whack tonalities and grotesque plot twists were meant to be played for laughs.
  31. Utterly shatters the illusion with a trite plot, banal dialogue, clunky sentimentality and, worst of all, a sort of narrative arbitrariness.
  32. The only thing that's truly scary about the movie is the escalating vulgarity of the latest in a string of skanky comedies by filmmakers determined to out-gross the other.
  33. It's saying something when Tom Arnold's performance is among the movie's highlights.
  34. It's almost too dull to pan.
  35. About as funny as digging your own grave in an unmarked part of New Jersey.
  36. It's so laden with foreboding, you want to get out from under it and gasp for air.
  37. A pooped, poorly executed buddy-cop comedy with more cliches than expletives.
  38. Creepy, creepy, creepy -- and not in a good way.
  39. Never manages to make its characters anything other than cartoons.
  40. Unfortunately, the more traditionally drawn 2-D human characters are as flat, in every sense of the word, as can be.
  41. The picture is not a social satire. It’s a mess.
    • 47 Metascore
    • 30 Critic Score
    This is billed as a romantic comedy, but it's much more boring than funny.
    • 61 Metascore
    • 30 Critic Score
    These actors move with the labored blocking of a high school play.
    • 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.
  42. A purported heist flick that sucks all the style out of stealing.
  43. It's an eroticism of nastiness -- triple-X fare for dirty old men in raincoats. If you resist this sleazy gorefest, you'll be right to feel proud of yourself.
  44. This feels like a cramped, TV-style retelling, with small groups of people, no special effects, in some ways almost cheesy.
  45. If only The Reaping had the decency to be coherent.
  46. It's a remarkable, if appalling, spectacle of self-abasement. But of course, that's Sandler's specialty.
  47. There's something hideously pretentious about the whole thing.
  48. Heights is nothing more than a second-rate version of several much better movies, all of which are available on DVD and video.
  49. Unfortunately, the experience of actually watching the movie is less compelling than the circumstances of its making.
  50. All dancing and hugging and no good.
    • 56 Metascore
    • 30 Critic Score
    Opportunities for dramatic tension, comedic effect, erotic energy, even just flat-out weirdness -- all are squandered by Brocka and the actors in a haze of blandness that gives the film all the edge of a particularly gay Gap commercial.
    • 19 Metascore
    • 30 Critic Score
    Spade is no actor. He's a quipper. And his acerbic asides aren't anywhere near funny enough to carry a movie.
  51. What's strangest, though, about Die Mommie Die! is how material that was obviously so giddily irreverent in origin became so inert, so joyless and dull.
  52. A whodunit so bafflingly constructed that you can't even figure out what it is, so the whodun part is superfluous.
    • 35 Metascore
    • 30 Critic Score
    Plot and narrative? Minimal. Confrontations? Endless. Surprises? None.
    • 35 Metascore
    • 30 Critic Score
    Surprisingly amateurish attempt at cross-cultural comedy.
  53. Deception is another example of when genre-fication (the forcing of otherwise intriguing stories into the straitjackets of horror, thriller or other genres) reduces our entertainment to head-shaking banality.
  54. Moves at a glacial pace.
  55. If this garbage sounds like your kind of thing, and the folks who jump up and talk back to the screen are your kind of people, then, sweetheart, you and this movie deserve each other.
  56. It's Hoffman's failure, though, that sinks the picture. He is working here with his usual meticulousness, but there's no relaxation in his performance, no sense that he has ever merged with his subject, that he has found Raymond's center and is simply acting out of it.
  57. Like every other second of more than 10,000 seconds in Alexander, it doesn't engage in the least.
  58. A glittery but dunderheaded murder mystery.
    • 43 Metascore
    • 30 Critic Score
    What's the difference between Feast and, say, "Alien" or "The Texas Chain Saw Massacre," all of which share the same plot? Patience. Feast lacks it.
  59. 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.
  60. Movies don't come much lamer than Fools Rush In.
  61. A sex romp starring Andy Griffith? Holy AARP! The good news is that the seemingly perennial TV fixture is still funny and sharp and folksy. The bad news is that he lost the bet, or whatever it was that got him into Marc Fienberg's smarmy, lackluster comedy.
  62. Though the comedy falls short of a debacle -- which is what such egocentric projects tend to be -- it isn't as sharp, fast or funny as Rock's stand-up routines.
  63. Yields the same sort of archetype and the usual results: De Niro's workmanlike in a dismayingly familiar role.
  64. The movie based on Young's 2002 memoir is a good bit blunter. One early laugh comes at the expense of a pig urinating on a woman's feet at the BAFTA awards, the British equivalent of the Oscars. And it doesn't get much better, or much smarter, than that.
    • 33 Metascore
    • 30 Critic Score
    An hour and a half of real airplane turbulence is better than sitting through the bad, offensive material that makes up Soul Plane.
  65. For the most part, the film's a bewildering disappointment.
  66. The sparks don't fly -- they fall down and they can't get up.
  67. The story the film tells ruins the movie.
  68. 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.
  69. The movie winds up a casualty of schmaltzy, patronizing sentiment on the one hand and overweening ambition on the other.
    • 16 Metascore
    • 30 Critic Score
    You can stick around for the only funny line, which involves a breakfast burrito, but the smart surfer would head for the hills and Willie's goat ranch.
    • 49 Metascore
    • 30 Critic Score
    Occasionally amusing, technically lovely but ultimately dated.
  70. "Wolverine" is full of angst, and yet has had virtually all the soul wrung out of it in an effort to create a live-action cartoon. But cartoons are rarely so unwieldy, or force a director -- in this case, the largely unsung Gavin Hood -- to juggle so much impossible plotline.
  71. Hampered by Niall Johnson's script, which is often confusing, muddy and ultimately cliche-ridden.
  72. 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.
  73. Someone forgot to remind Duvall to write an ending.
  74. Everything in it is a cliche including the end.
  75. Of the many comic book superhero movies, this is by far the lamest, the loudest, the longest. Good Lord, what an epic sit. My rear end deserves a medal...I wish I could say it wasn't so, but for most of us, this "X" marks a splat.
    • 63 Metascore
    • 30 Critic Score
    Fails to generate a real plot, and the awkward moments work better in a context of adolescence. Quirk isn't funny when accompanied by adultery and brutality -- though a couple of lines zing.
  76. There's the scene in which Jacques, the French Canadian proprietor of the Power and Glory, tells Laura, "I am the Great Went," to which she responds, "I am the muffin." Jacques returns, "I'm as blank as a fart." Maybe all Jacques is saying is "I am full of gas." Certainly Twin Peaks: Fire Walk With Me seems to be.
  77. Well-intentioned but ludicrous tale.
  78. Ironically, the filmmakers don't seem to realize that their movie is even shallower and sillier than its targets.
  79. Until the last 20 minutes or so of Rock School, the actual playing, while often startlingly good, is kind of boring.
  80. The baseball half of the story just slightly works. ... Nothing in [the other] half of the film works.
  81. Date Movie, alas, is here to remind us that slapstick can be just plain bad. These are sight gags best appreciated with a blindfold.
  82. There are many ways to define the shrieking awfulness of The Family Stone, from the general lack of wit to the cheap exploitation of cancer to its casual cruelty, but it's writer-director Thomas Bezucha's casting that really goes awry.
  83. Roos and director Herbert Ross pave the long and grinding road to self-fulfillment with miles and miles of counterfeit poignancy.
    • 33 Metascore
    • 30 Critic Score
    In the end, it all looks and plays like a $40 million version of a game you're more likely to enjoy on a computer.
  84. There's more bathroom and slapstick humor than a sixth-grader could stand, and a veritable flood of drool, blood and less mentionable effluvia, most of it courtesy of Mr. Wayans as he tries to be – you know – funny.

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