Washington Post's Scores

For 7,521 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 Certain Women
Lowest review score: 0 8MM
Score distribution:
7521 movie reviews
  1. Worse yet is the insincerity of the film's central performances. Too cool by half, Glodell, Wiseman and Dawson speak every line as if it had air quotes around it. In fact, the entire movie feels as though it has air quotes around it.
  2. 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.
  3. Unfortunately, the drama operates on a see-through, easily shatterable metaphor: the frigidity of the WASP soul. [17 October 1997, p.N32]
    • Washington Post
    • 71 Metascore
    • 0 Critic Score
    Can a script exploring some truly deep questions about human sexuality and emotions be any shoddier and wooden?
  4. I would rather have a more interesting group of desperate people to spend my post-apocalyptic time with.
  5. There’s some fun to be had, as long as your idea of fun includes being grossed out.
  6. A typical student film with its arty angles, bad lighting and pretentious observations.
  7. The new Dutch film Black Book manages to turn World War II into a large piece of cheese. A lurid, pulpy, slightly perverse potboiler, the movie suffers mainly from its utter lack of seriousness.
  8. The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
  9. 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.
  10. Very much like sex. On second thought, make that bad sex. Actually, sexual assault is more like it. It will leave you feeling used, bruised, violated, mistrustful and unclean.
  11. It's so laden with foreboding, you want to get out from under it and gasp for air.
  12. A picture-book French film that's pretty and trite, rather than edgy and moving.
  13. Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
  14. A dog-frequency movie: enjoyable only to those tuned in to its particular register.
  15. Gator never emerges as anything but a blatant and outspoken -- and virulently brutal -- jerk.
  16. Crazy? Crazy is too mild a word by far to describe the twisted worm at play inside the skull of the Canadian director David Cronenberg -- And that craziness is given full vent in the vomitorium called eXistenZ.
  17. It's a silly, if simultaneously deadpan and stomach-churning, psychological portrait of one crazy lady.
  18. 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.
  19. In the end the movie goes nowhere a hundred movies haven't already been and tells us nothing we don't already know. It does so with so much violent energy, however, it's like four brutal years at film school crammed into an hour and a half.
  20. A rambling disappointment.
  21. A grisly, often cynical piece of work whose joyless, aggressive spirit is made even less appealing by its soulless visual style.
  22. Kari may eventually go far, but for now he's one of the less interesting inhabitants of international art cinema's disaffected-youth ghetto.
  23. The Hateful Eight never lives up to its intriguing opening minutes and provocative premise, its wide-screen canvas wasted on a talky, claustrophobic chamber piece that descends, in due Tarantino fashion, into a mean-spirited slough of bloodshed and mayhem.
  24. 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.
  25. 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.
  26. It's empty of ideas, which is fine, but it's also empty of heat.
    • 68 Metascore
    • 30 Critic Score
    Director Michael Winterbottom languidly unspools the story; nothing seems to lead to anything.
    • 68 Metascore
    • 10 Critic Score
    Keaton and DiCaprio manage to bring several levels of emotion to their characters, but everyone else is a cardboard cut-out.
  27. If it's art, it's only mildly interesting.

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