Washington Post's Scores

For 7,437 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Miller's Crossing
Lowest review score: 0 Hell Ride
Score distribution:
7437 movie reviews
    • 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.
  1. "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.
  2. Hampered by Niall Johnson's script, which is often confusing, muddy and ultimately cliche-ridden.
  3. 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.
  4. Someone forgot to remind Duvall to write an ending.
  5. Everything in it is a cliche including the end.
  6. 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.
  7. 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.
  8. Well-intentioned but ludicrous tale.
  9. Ironically, the filmmakers don't seem to realize that their movie is even shallower and sillier than its targets.
  10. Until the last 20 minutes or so of Rock School, the actual playing, while often startlingly good, is kind of boring.
  11. The baseball half of the story just slightly works. ... Nothing in [the other] half of the film works.
  12. Date Movie, alas, is here to remind us that slapstick can be just plain bad. These are sight gags best appreciated with a blindfold.
  13. 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.
  14. 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.
  15. 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.
  16. In a movie whose texture is supposed to be hard-edged realism, the characterization seems a little too pat and jaunty.
  17. Plays less like a novel re-imagining of a classic if campy narrative than a drearily self-conscious exercise in Know Your Film References.
  18. G
    For anyone to enjoy this starchy, contrived exercise in vanity and product placement, it's best not to have read the book. In fact, it's best not to have read ANY book.
  19. Perhaps they should have called this "Bore-a, Bore-a, Bore-a."
  20. A tarted-up but tedious reprise of the '70s TV series.
  21. This vainglorious biopic about Bobby Darin is really about what the '60s pop singer and actor means to Kevin Spacey.
  22. A nasty bit of counter-programming, Wolf Creek is for people sickened by the sentimental excesses of the day and the holiday season and want to hide from them in mayhem, slaughter, torture and degradation.
  23. Really two movies in one, and there's not enough breathing room for both of them.
  24. It's not Deuce's satisfied clientele, but the audience, that gets the shaft.
  25. I'd recommend you actively or passively forget this one.
  26. Like the turtleneck cashmere sweaters and girdles that tie down these promising women, the movie is trite and trussed.
  27. The plot, loosely derived from Madison Smartt Bell's "Doctor Sleep," is utterly stale. On their way to confront ancient evil, Strother and Losey keep tripping over timeworn cliches.
  28. Unfolds with all the entertainment value of watching somebody else play a video game.
  29. The film has no discipline, but that's okay because it has no suspense, either.
  30. Yes
    It's a bold exercise, an interesting experiment, but a movie it ain't.
  31. This adaptation of the underground comic strip is mostly unfabulous.
  32. Easy on the eyes and hard on the head, Suriyothai is absolutely unaffecting where it matters most, in the heart.
  33. This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.
  34. There doesn't seem to be much purpose to it except a half-baked notion that the histrionics of the mentally insane (or a moviemaker's idea therein) are eminently cinematic. They aren't.
  35. The nonsensical screenplay can barely stand-up to the hellzapoppin, Beelzebubbin effects mustered by first-time director Mark Dippe.
    • 34 Metascore
    • 30 Critic Score
    Michael Bay is destroying horror films by exhuming the genre's standard-bearers, stripping them of genuine terror, refusing to either re-create faithfully or reimagine boldly, and upping the irony until the original concept stands rigid like a taxidermied grizzly, its teeth bared but its presence, most of all, sad.
  36. Comes across less as a fully realized work of storytelling than as a commercial for a corporation whose goal of entertainment has been replaced by that of making money.
  37. This unusual convergence of stars doesn't amount to much.
  38. Doesn't orchestrate the scares with much finesse.
  39. It's hard to say exactly what the point is to this sour tale.
  40. Strictly a vanity vehicle with a mess of star babies on board. That would be just fine if it didn't take us down the same old cul-de-sac. But it does, and with a vengeance.
  41. Like so many technological marvels, at the human level it's not only merely dead, it's really most sincerely dead.
  42. Goes nowhere fast.
  43. For all their sass, brass and bewitchery, the starring troika can't breathe life into these characters, much less transform them from women scorned into hellbent furies.
  44. A crashing letdown.
  45. Even the staunchest of golfheads must know they're watching a cut-and-trite accounting.
  46. The movie, alas, is shackled somewhat by Waugh's original, pedestrian plot, which is too full of discrete incidents and slow to form an overarching story.
    • 36 Metascore
    • 30 Critic Score
    It's not well scripted enough or well acted enough to do much of anything, save make anyone watching really hate Brittany Murphy for being so annoying.
  47. The movie's fundamental problem is that Cusack's character isn't very interesting.
  48. It doesn't help matters that The Libertine seems to unload every olde English cliche on file.
    • 48 Metascore
    • 30 Critic Score
    Fraser is likable enough, albeit never quite convincing as an action hero.
  49. Passionately anticipated and much ballyhooed, the film, alas, is little more than a foppish, fang de siecle costume drama. Its pulse barely registers.
  50. The psychologizing in Party Monster never goes deeper than what you might get out of Dr. Phil on a bad day.
    • 66 Metascore
    • 30 Critic Score
    This solo project by first-time producer/director Edward James Olmos makes itself out to be hard-hitting, social commentary. But it's too longwinded and cliched to deserve that description. [13 Mar 1992, p. N47]
    • Washington Post
  51. What Kalin fails to provide in the slightest degree is energy. The movie just sloshes along in a heavy, slightly overdone way.
  52. If you only live twice, spend both lifetimes avoiding it.
  53. Not only dense, dark and deeply introspective, it's also as remote as it's chilly.
  54. A pretty woeful affair...a sitcom disguised as a movie.
  55. This saved-by-an-angel story is redeemed mostly by Smith's comic instincts.
  56. A longwinded, predictable scenario.
  57. 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.
  58. 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.
  59. An irredeemably transparent... DIRECT RIPPING OFF OF "SPEED."
  60. Kids who love Pokemon movies are no doubt going to see this movie, and they'll have a blast watching it. Very soon they will become older and more sensible and understand how terrible these movies are.
  61. Two-hour exercise in chaotic action and coarse, annoyingly coy sexuality.
  62. Although it was held back by the studio for about a year, someone apparently came to the inevitable conclusion that no amount of ripening time was going to help this gimmicky and ultimately harebrained movie.
  63. It's just too lost in its own presumed self-enchantment.
  64. Has the tired, over-baked feeling of a script that never quite worked but was tinkered with until every ounce of spontaneity or life was hammered out of it.
  65. The movie has the sense of being embalmed, or pickled. With its stilted dialogue not quite kitschy enough to be funny and not quite authentic enough to be realistic, the whole movie feels as if it's taking place in formaldehyde.
  66. As a whole, the film is a perplexing, dark and brooding exercise, which only makes its inappropriately cheery ending feel all the more slight.
    • 44 Metascore
    • 30 Critic Score
    The humor is rigorously unoriginal and it all feels a bit like minstrelsy, a freakish, ritualistic nod to things your grandfather might have found funny.
  67. 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.
  68. 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.
  69. This is nothing but a dare-to-be-terrible movie.
  70. Fast and furious, shallow, empty, casually racist, merry, jaunty, silly and utterly weightless.
  71. If only Shadowboxer had gone for more than an unwavering commitment to imitate better movies, it might have been one for the cult shelves at the video store. Right now, you'll be lucky if you find it in the giveaway bin.
  72. Max
    Mad Max just sails off into nonsense.
  73. The movie never transcended its elaborate production work to achieve an independent reality.
  74. Feels like something I know is supposed to be good for me, but that I just couldn't stomach.
  75. It's just silly, loud and goofy. The dragon needed a bigger part and the two stars smaller ones.
  76. Here, Lyne indulges more in misdirection than in direction; he's a magician turning a sleazy trick. But even his technical skill breaks down. The picture is garbled and cliched.
  77. Hanks is great; the movie isn't.
  78. One hackneyed, inauthentic, predictable scene after another.
  79. It's piddling -- a hangdog little comedy with not enough laughs...its spirit rattles around inside it like a marble in an oil drum.
  80. Each plot twist trumps its predecessor into ludicrousness.
  81. Zem and Bourgoin are great, but the movie is too frivolous to win anything but a dismissal in the court of moviegoer opinion.
  82. Cut-and-dried sci-fi thriller.
  83. The story, a half-baked one about treachery and greed, meanders to an unsatisfactory ending with a punch line that, well, doesn't punch very hard.
  84. Stone's film is a case study in cultural analysis that aims at too much and achieves too little.
  85. They made a movie without one basic ingredient: the story.
  86. It's too bad Chan's imagination and delicacy were wasted in this movie.
  87. Overdresses and ultimately abandons what drew us to its 1998 predecessor in the first place: an intimate embrace with history.
  88. Dragged down by a paper-thin story, the predictable number of fight scenes executed at equally predictable intervals and stock, unmemorable characters.
  89. Although this script starts off with great zest, it's ultimately a disappointment.
  90. Kids sense when a movie is being noisy and frantic just to keep them distracted; these apes are overcaffeinated.
  91. The muddy, convoluted story revolves around the star's cool-guy poses and one-liners.

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