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 The Hurt Locker
Lowest review score: 0 Stardom
Score distribution:
7653 movie reviews
  1. The movie is neither good nor bad, but in its clever packaging of boy fantasy and girl fantasy, extremely cunning. As for Princess Diaz, no force on Earth can stop her now.
    • 72 Metascore
    • 60 Critic Score
    What rescues the film is Gernot Roll's spare, almost aesthetic cinematography, and the quality of the acting.
  2. The highest accomplishment of Buffalo Soldiers is its wise invocation of that weirdest of all precincts, the post, and the odd culture it spawns.
  3. The film is ultimately too self-regarding, too smug to be transcendent itself.
  4. A surprisingly tame and humorless effort by director Curtis Hanson of Hitchcock-spoofy The Bedroom Window, the movie does provide a couple of good jolts.
  5. Like the mysterious, bound package Goodman gives Turturro (the contents are never revealed), the Coens isolate a small area of interest, bind it with psycho-atmospheric finesse, then wait for something significant to emerge. Even after a second viewing of this movie, it doesn't.
  6. This movie has all the same elements as other Grisham fare: raw young lawyer trying to make it in the South; helpless client treated badly; sleazy, star-chamber villains. Wake me up when the last-minute surprise witness comes out of her hidey hole to turn the case around.
    • 48 Metascore
    • 60 Critic Score
    It is only when Reeves meets up with his incredibly cute baseball team that this movie comes to life.
  7. Tomorrow is propelled by relentless action. Chase scenes are interrupted not by witty conversation or sexy conquests but by the rattle of machine gun fire.
  8. The movie attempts to paint too large a canvas.
  9. Both slapstick and social drama, and it is certainly the most confident mix of the two that Perry has managed to achieve with this particular part of his vast media franchise.
  10. Sad, sobering film.
  11. Blade's stomach-turning special effects, bone-crunching martial arts and cynical humor will more than satisfy any action-film addict's need for a fix of eye-popping escapist adrenaline.
    • 43 Metascore
    • 60 Critic Score
    For a quick ticket into the world of extreme sports, the sky-high, adrenaline-gorged stunts captured in X Games will make any spectator gasp, wince and brace with fear.
    • 52 Metascore
    • 60 Critic Score
    Race to Witch Mountain has Johnson, who lifts the script above its conventional cat-and-mouse stratagems with his buoyant wiseacre timing.
  12. While not significantly better or worse than the predecessor, a rather astounding object of devotion for a movie studio--an enormously expensive recreation of a moribund TV series--this sequel is perfectly presentable and harmless, a klunker as comfortable as your easy chair. [4 June 1982, p.D1]
    • Washington Post
  13. Vaughn can motormouth like a machine gun, spraying men, women and children with manic, rat-a-tat outbursts of toxic insincerity. It's often dirty, yes. But it's also manic and inspired.
  14. For all its visual delights, however, Coraline remains more an engaging spectacle than a connective drama. That is chiefly because of the writing. Director-writer Henry Selick doesn't reach for the kind of universality that would enrich the movie.
  15. A nostalgic paean to China's fading pastoral ways, might easily be taken for an audition tape for Zhang Ziyi.
  16. Fitfully amusing and ultimately kind of heartwarming in a twisted sort of way
  17. A considerable cut above the crop of recent features by other 'SNL' alums.
    • Washington Post
  18. CQ
    A certain sexiness underlines even the dullest tangents, bouncing along to the all-too-essential groovy soundtrack.
  19. A clinically adequate, occasionally above-average art house film. In certain moments, it has all the subtlety and illumination one should ever need.
  20. Of all ironies, "Strangers" occasionally takes a step in the direction of the after-school specials it's trying to twit; you'll catch it trying to make you feel warm and fuzzy about Jerri.
    • 78 Metascore
    • 60 Critic Score
    The film's loveliness does much to modulate its often maddening pace.
  21. You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced.
    • 38 Metascore
    • 60 Critic Score
    This is not a "good movie" -- in fact, it's a sprawling mess -- but I like it. And I mean that sincerely, you knucklehead.
  22. If Guess Who were either a whole lot funnier, or a whole lot less funny, it would be a far better film.
  23. It is this sense of real life blurring with make-believe that Allen's film is really playing with, like a kitten toying with a scared mouse. Back and forth he bats the subject, moving between reality, illusion and the imitation of reality with a deft touch that may bruise but never kills.
  24. The dazzle doesn't make up, however, for the movie's lack of depth.
  25. There's something diverting but not wildly stirring about this Italian drama.
  26. On the upside, the movie could do something really positive for the cause of homeless pets: If audiences respond the way they should, dog shelters could be emptied in a week.
  27. A blackhearted little film. What's being marketed as a frothy French confection about jealousy (specifically the jealousy of a regular guy married to a famous movie star) also just so happens to be a portrait of a marriage going down the toilet.
  28. I sat through "Courage" with interest, but I wasn't particularly moved or riveted with suspense.
  29. As a persona of epic polarities, [Harrison Ford] animates this muddled, metaphysical journey into the jungle.
  30. Admittedly, this is the stuff of lurid adolescent distraction, not great cinema. Jennifer's Body is strictly a niche item but provides a goofy, campy bookend to "Drag Me to Hell" on the B-movie shelf. Watch it, forget it, move on.
  31. No, it's not a great movie. It is, however, an interesting one.
  32. Refreshingly free of the hyperbole of special effects...Ong-Bak will win no scriptwriting awards, but Jaa is definitely the real deal.
  33. The pleasure is entirely like eating cake made from cake mix. It's not like you don't know how it's going to turn out, or how it tasted the last time you ate it.
  34. Although the movie is moving and even funny in many places, it's also overextended. And composer John Williams's syrupy score practically oozes from your ears on the drive home.
  35. Three losers of late, the actors succeed quite nicely in unifying the movie's multiple personalities, its ricocheting screenplay.
  36. Though it lacks the gloss, twists and star power of earlier Grisham movies, The Chamber does possess Gene Hackman's most cantankerous turn since the lowdown lawman he created in "Unforgiven."
  37. Now for the bad news. The filmmakers seem to have spent so much attention and, presumably, money on getting the primates right that they completely forgot about the people.
    • 69 Metascore
    • 50 Critic Score
    Although the film shows many photographs and videos of his performances, it never allows a particularly coherent assessment of any of them.
  38. LaBeouf is appealing as the frustrated shut-in, and comic-relief cred goes to Aaron Yoo, who plays his neurotic buddy Ronnie. The ending, though, drags, and the film quickly shifts from a clever homage to "Rear Window" to a bad parody of "The Silence of the Lambs."
  39. Pirouettes along a beguiling but treacherous line between horror and whimsy.
  40. With its shambling, felicitously contrived structure and Fellini-esque climax, it's some kind of Jungian slacker fable.
  41. Extended scenes are dominated by heavy dialogue, while the lighter moments are relegated to montages of prancing across a beach, for example, which simply aren't that effective at buoying the drama.
  42. Seems to me, teenage suicide isn't that funny, and nothing in this movie changed my mind.
  43. A celebration of the actor's art – but not the dramatist's.
  44. Instead of an originally conceived movie that reflects Nash's troubled but brilliant mind, we have one of those formulaically rendered Important Subject movies -- the kind that seem exclusively designed for Best Picture nominations.
  45. At once daring and hackneyed, absorbing and off-putting, a triumph of one sort and, more lastingly, a failure of another.
    • 64 Metascore
    • 50 Critic Score
    May leave you longing for a story to make you care.
  46. If the movie isn’t always gripping, it’s nevertheless a worthwhile examination of the intricacies of undercover life.
  47. Hoot may be warm and fuzzy with its adorable owls, triumphant kids and inviting Florida groves. But its forced, innocuous humor is unlikely to amuse anyone but the very young -- and the extremely forgiving.
  48. It’s Rainn Wilson who steals the show as the cocky physical education teacher who takes charge when the pint-size monsters corner him and his fellow educators.
  49. There's a flatness about the whole enterprise -- like drinking champagne, but from an old house slipper. Re: his performance, Clooney is terrific. His comparison to old movie stars is not just hype. He really does possess the combination of supreme confidence and humility that has been the hallmark of the biggest male Hollywood stars.
  50. The movie faithfully records the rivalries among the various members of a fractious Baltimore family, but it never really attempts to resolve any of the internecine conflicts. In that sense, it's less ambitious than many a TV series.
  51. This is a movie that knows its audience and realizes it doesn't need much of a story to hit that audience, literally, where it lives.
  52. The overly schematic nature of High-Rise does not entirely diminish its pleasures as a story, which include, in addition to Wheatley’s richly lurid visual sensibility, an effective metaphorical tool in Laing.
  53. Never lets viewers fully inside Erik and Paul's world, a reticence that isn't helped by the actors' fey, restrained-to-a-fault performances. That and a frustratingly episodic structure make what might have been a raw and inspiring portrait of commitment and boundaries a surprisingly uninvolving, arms-length enterprise. Keep the Lights On lets go just when it should be holding you tighter.
  54. The visual and performative elements are polished enough in Live by Night, but it lacks any sense of urgency.
  55. Creepy and truly suspenseful in some places, unintentionally comic or plain awful in others.
  56. It's a rousing, fast-paced tale, told with a modicum of verve and packed with colorfully flawed, occasionally heroic and even tragic characters. It also feels disappointingly bloated and too fast-paced by half.
  57. A British black comedy, saves its best for last -- and God bless Maggie Smith for, well, being Maggie Smith -- but that requires sitting through a frustrating, uneven hour of sluggish preamble.
  58. Trouble With the Curve presents viewers with a frustrating change-up: What promised to be a modest, refreshingly unforced little comedy turns out to be low energy to a fault.
    • 33 Metascore
    • 50 Critic Score
    The movie does nothing special or surprising, but it doesn’t particularly offend, either.
    • 64 Metascore
    • 50 Critic Score
    A reasonably diverting tale of pre-middle-aged floundering that can’t stop pointing out how unexpected everything is.
  59. Based on "Romeo and Juliet" the way a martini is "based" on vermouth.
    • 53 Metascore
    • 50 Critic Score
    Wildly uneven--inventive and clever moments are interspersed with dull and predictable ones.
  60. You keep expecting Shopgirl to get funny or sad or poignant; it never does. It just starts, then it's over.
  61. In order for the trick of the film to work, however, one must hold Morgan to a standard that the movie is unlikely to live up to.
  62. In the end, we're treated to an overture of possibilities rather than a satisfying film.
  63. The romantic comedy boasts two winning leads in Jason Sudeikis and Alison Brie, as well as some sweet, funny moments amid the Aaron Sorkin-esque dialogue — courtesy of writer-director Leslye Headland — that’s a little too clever for its own believability.
  64. As large as Earth Two looms - literally - in the frames of Mike Cahill's film, so do its implications. It's one big, honking metaphor, as much as a special effect. As a symbol of second chances, it's as intriguing as it is frustratingly obvious.
    • 47 Metascore
    • 50 Critic Score
    The film's not nearly as idiotic as its trailer made it seem, because it's not really about voting, or politics.
  65. The movie is so tepid and inoffensive: It reminded me of a '70s Disney live-action product, with clean-scrubbed "hippies" like Johnny Whitaker chafing harmlessly under the wise ministrations of Suzanne Pleshette, whose job was to keep the kids in hand.
  66. Tokyo, if anything, becomes more of a mystery after Tokyo! than it was before. That's the strength and curse of the film. If you can't find real connections between its disparate stories, you can always make them up yourself. But if that kind of film frustrates you, think twice before booking a ticket to Tokyo!
  67. Ferrell and Hart have a genial, easygoing chemistry and Get Hard manages to score more than a few good points about facile assumptions and toxic hypocrisy.
  68. Considering it's anime, Summer Wars starts out more like a bad romantic comedy.
  69. Just inspiring enough, just scary enough, just sappy enough and just funny enough to get by.
  70. Jason Bourne belongs to Damon and Greengrass, whose admirable — and entirely appropriate — goal of playing it for kicks comes across, this time around, as an oddly joyless chore.
  71. With its brilliant cast, its creative pedigree, Don't Come Knocking seemed as close to a sure thing as possible, but it only proves the sad truth that there's no such thing as a sure thing.
  72. The best element of the movie is a subplot involving Noah's spiritually obsessed teacher (Rainn Wilson) and his wacky girlfriend (Kathryn Hahn), whose bumbling eccentricities give the movie an emotional liveliness it otherwise lacks.
  73. Even if you agree with the film’s argument that teenagers shouldn’t be locked up for life when there are other ways to save them, “Monsters” doesn’t offer a convincing argument that a screenwriting class is that lifeline.
  74. Director James Watkins knows how to make a body jump out of its skin, even if he does use the face-reflected-in-the-mirror/window trick once too often. At the same time, the film is kind of, well, silly.
  75. Vaughn is the film equivalent of a well-known novelist that no longer gets a good edit. He has the charismatic salesguy shtick down, but he needs a director who can rein him in.
  76. Dogs and the women who love them form the warm and gooey center of Darling Companion, Lawrence Kasdan's fitfully amusing comedy-drama.
  77. In the end, The Devil's Double is one long balance sheet. On the plus side are the dueling performances of Cooper, which anchor the film. On the minus side is a seemingly interminable litany of violence, abuse and degradation. They cheapen the film by nudging it in the direction of a splatter flick.
  78. For all the outrageousness of Kevin’s alters, the movie falls oddly flat: less tantalizingly enigmatic “et cetera” than “blah blah blah.”
  79. So insidey it's almost parochial.
  80. Maybe it's me, but I find it difficult to dislike any movie that has horses, guns and big hats in it.
  81. Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
  82. Both lead players are appealing and attractive enough to make an otherwise tepid movie at least un-excruciating.
  83. The movie turns what was once antic into something closer to manic. With a throwaway plot and a parade of weird characters, the comedy tries to be bigger, bolder and more outrageous than the television series, but it ends up being a lot less funny.
  84. The Hollars drives inexorably to a conclusion that feels as manipulatively mawkish as it is impossibly tidy, typical of a genre that too often tries to have it both ways. It turns out that happy families are all alike, even when they’re a little bit sad.
  85. Its arresting visual design aside, Cafe Society is upper-middle-late-period Allen, a modestly diverting ditty that will never go down as one of his greats. (But, as most can agree, Allen at his most middling is still better than many hacks at their best.)
  86. Weirdly disjointed and uncertain as to tone.
  87. Its hackneyed themes prevent the sci-fi flick from feeling like anything more than well-directed mediocrity.
  88. It's nothing but style and noise, threadbare of content, empty of ideas. Is it anything? Not really.

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