Washington Post's Scores

For 8,496 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 City of God
Lowest review score: 0 Wet Hot American Summer
Score distribution:
8496 movie reviews
  1. Save yourself 10 bucks, and an hour and 45 minutes of your precious time.
  2. If you find yourself at "The Island" I have only three words of advice: Vote yourself off.
  3. Things really slow down during the movie's ill-advised forays into drama.
  4. An uneven, sophomoric and only fitfully funny omnibus of skits, The Ten is one of those silly-on-purpose ensemble exercises that must have been wildly fun to make.
  5. Franco’s hand-held camerawork draws the story forward as unfussily as a shepherd leads a sheep, and yet with a kind of ghastly grandeur. This is functional filmmaking more than it is flashy. But there is, at its heart, a single virtuosic performance.
  6. The two starring performances are spot on. Wilson gets the tone that screenwriter Don Payne so expertly evokes: It's a weird sort of self-aware despicability...Thurman is beautiful, fearless and perfectly believable as a superhero.
  7. Let's wait for a movie where they do get it all right: story, acting and dancing. It'll happen, just not this time.
  8. "Welcome to the Rileys"? Thanks, but no thanks.
    • 50 Metascore
    • 25 Critic Score
    Carpenter being Carpenter, he vacillates between overexplanation -- his are the most verbose horror films -- and cheap shocks.
  9. An entertaining, light-hearted cops and robots action adventure decked out in high-tech finery. [14 Dec 1984, p.31]
    • Washington Post
  10. A surprisingly gripping experience.
    • 50 Metascore
    • 50 Critic Score
    Charming as it can be, though, Home on the Range is still an overextended cartoon.
  11. Petersen leaves out, largely, character, back story, anecdote and warm personal relations. Poseidon isn't cute, funny, warm, nice, inspirational or uplifting. It's about the incredible labor of survival in a world turned totally sociopathic in an instant.
  12. The problem is that, in focusing on what makes a good caper, director Louis Leterrier forgot about what makes a good movie: character development, carefully constructed tension and believable plot points.
  13. Even by its own standards, the movie becomes increasingly macabre and ludicrous as Anne's machinations get the better of her, and everyone, including the audience, is left feeling shattered, shaken and vaguely unclean for having participated in all this.
  14. Director John H. Lee isn’t big on John Le Carré-style intrigue and introspection. (The dialogue comes in only two flavors: blustering and sentimental.) He’s better at the shootouts and chase scenes, which are loud, lively and well-choreographed, if sometimes outlandish.
  15. An energetic if empty-headed adventure based on the popular video game.
  16. The movie builds a moderate, if less than monumental, level of spookiness, regardless of your ignorance. It’s a workmanlike piece of suspense.
  17. Top Gun is basically "An Officer and a Gentleman" with less spirit and depth. But it's still fine formula movie-making -- like a feature-length "Be All That You Can Be" commercial. It's got lots of loud music, hot colors, heat-seeking missiles and other pointed objects. Real men squint into the radar's gleam below deck, while real men hunt MiGs upstairs. [16 May 1986, p.29]
    • Washington Post
  18. The acting by Binoche and her two young co-stars is more nuanced than the film deserves. They bring a rich expressiveness and sense of complex inner life to their characters. It's the movie - and its placard-sized message - that is more two-dimensional.
  19. A loving throwback to the classic westerns and sci-fi adventures of yore, this celebration of two of cinema's most revered genres doesn't stint in lavishing their most cherished conventions with even-handed affection and respect.
  20. The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
  21. War is hellishly entertaining, especially in Behind Enemy Lines, a 21-gun salute to the commitment and preparedness of the U.S. military.
  22. The French now proudly prove they can make a big stupid violent cop movie, just like our gifted Hollywood professionals.
  23. It's a pretty compelling yarn, not to mention full of pretty pictures, and yet it could be so much more than that.
  24. About as funny as digging your own grave in an unmarked part of New Jersey.
  25. It isn't wildly imaginative, but its subjects are novel enough in their own right. They're a little bit country and a little bit Rachmaninoff.
    • 49 Metascore
    • 30 Critic Score
    Occasionally amusing, technically lovely but ultimately dated.
  26. The bad news? The story, which rumbles along like an unattended wheelchair on a gently sloping sidewalk.
  27. It all amounts to a missed opportunity considering how many female athletes and sports fans would probably flock to the first film that targets their demographic since "A League of Their Own" nearly 20 years ago. The people behind The Mighty Macs could learn a lot from that film, especially that following formula is fine, as long as you don't skimp on the details that complete the portrait.

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