Washington Post's Scores

  • Movies
  • TV
For 6,780 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Quiet American
Lowest review score: 0 Saving Silverman
Score distribution:
6,780 movie reviews
  1. 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.
  2. Needs more than happy thoughts to get off the ground.
  3. It seems such a waste to go onto the actual streets of Lower Manhattan and shoot a movie this stupid. Think of the money, the logistics, the interruptions in the city's life -- all that trouble for what? For this? For shame.
  4. In the end, Unfaithful leaves you dispirited and grumpy: All that money spent, all that talent wasted, all that time gone forever, and for what? It's an ill movie that bloweth no man to good.
  5. May be too much Yves Saint Laurent even for those connoisseurs who can differentiate the YSL line from Dior's or Chanel's.
  6. No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
  7. In a movie as unrewarding as this, there's really only one burning question: When does the spanking begin?
  8. Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
  9. To introduce an archetype like this to western audiences -- as the world weathers culturally and religiously demonizing times -- may have been worth this whole flawed movie. Too bad the story didn't just start with him.
  10. There's very little that's even kind of funny in It's Kind of a Funny Story, which can't accurately be described as a comedy but isn't a true drama, either.
  11. 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.
  12. Not enough to keep this celluloid ship from sinking under the weight of its own stupidity.
    • 63 Metascore
    • 37 Critic Score
    The film is ambitious and heartfelt, with pressing concerns about the virtualization and fantasization of reality. But it’s a blunder, one interesting mostly for what it might have been.
  13. 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?
  14. Big, dull and empty -- nobody associated with this production appears to have thought hard about storytelling.
  15. It's just sort of trying.
  16. How on earth is it possible for one film to be so tiresome? Spring Breakers isn’t deadly dull despite all the nudity and violence, but because of it.
  17. These dramatic shortfalls make us merely worried that two human beings are in danger, but not two compelling souls. There's your missing ingredient, the human X-factor.
  18. 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.
  19. Del Toro will probably get an Oscar nod for his Jerry, because the film is so full of Oscar moments, including a cold-turkey detox bit. He rumbles and shivers and screeches and bangs his head on the wall and takes a shower in his clothes. I never believed a second of it.
    • 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.
  20. Could have been a sensation if a director with a smidgen of moviemaking instinct had taken the helm.
  21. It feels like a retread of several better movies, with a nastier, more bitter edge.
  22. The director, Patricia Rozema, has a rare talent: She gets third-rate performances out of first-rate performers with almost startling efficiency. All are bland, some hardly exist at all, and as performance, the whole thing seems a waste.
  23. If Shutter Island, a gothic thriller starring Leonardo DiCaprio and Mark Ruffalo, were put to a free association test, the word most likely to come to mind would certainly be "weird."
  24. The argument in Amigo is so heavy-handed - and its execution so crude - that by the time the movie winds its way to a predictable but uninvolving conclusion, nobody will be listening anymore.
  25. A piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil. They say they want a revolution? Then give us a revolution, one that's believable, frightening, heroic, coherent and not a teenagers' freaky power trip.
  26. Maybe the easiest thing would be to skip the movie altogether. Godard has created such a hermetic, uncompromising world that only the hardiest cinematic spelunkers are likely to appreciate its depths.
  27. 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.
  28. The action and dialogue find the same squalid level in time for the climactic scene, the cruel humiliation of a central character. That's when sensitive viewers should do what the bloody-minded Joe could never imagine: Walk away from the mess he has made.

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