Washington Post's Scores

For 7,938 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Under the Sand
Lowest review score: 0 Orphan
Score distribution:
7938 movie reviews
    • 46 Metascore
    • 30 Critic Score
    Unless you're a Clint fan there's little other reason to sit through this one.
  1. "Dragon" was apparently meant to be a big, rousing musical comedy-fantasy, but it's staged and photographed without musical-comedy energy, flair or coordination. [17 Dec 1977, p.D7]
    • Washington Post
  2. The war-movie cliches are as abundant as the antiaircraft fire, and the dialogue as wooden as a balsa glider. The leading characters are issued one personality trait apiece, and some don't even get that. Cuba Gooding Jr., for example, plays Maj. Emanuelle Stance as a man who smokes a pipe.
  3. Even at its most wrenchingly painful, the film readily delivers generous dollops of pleasure.
    • 46 Metascore
    • 30 Critic Score
    The stories are markedly different, but the acting seems remote and hollow, as if no one believes in what they're doing. [18 Oct 1996]
    • Washington Post
  4. Upon this fine mess shines Janeane Garofalo like a ray of sarcastic sunlight as FBI agent Shelby...With her gift for sweet bile, the sardonic Garofalo makes every second on screen a treasure to be cherished.
  5. One-dimensional archetypes, too much predictability and not enough comedy.
  6. At once belabored and muddled movie, whose dreamy visual style and daring sexual material can't elide glaring inconsistencies in tone, plot and logic.
  7. Linney -- this has happened too much to her -- is once again the best thing in a movie that at most achieves a certain mediocrity.
  8. Ruffalo is so squirrelly in the role that he seems like a dead giveaway from the start. You know exactly where the story is going, and, dang, that's exactly where it goes.
    • 46 Metascore
    • 60 Critic Score
    All of the supporting characters -- notably tubby Richard Griffiths as Tess's nurse and mousy Austin Pendleton as her chauffeur -- are thinly drawn, but neither MacLaine nor Cage leaves much room for anyone to overact.
  9. A cautionary environmental tale with a thin veneer of entertainment on top. With its cotton-candy-colored palette of orange, pink and purple truffula trees, it looks like a bowl of fuzzy Froot Loops. But it goes down like an order of oatmeal. Sure, it's good for you. It's just not terribly good.
  10. When the jokes work, it's for a simple reason: The four actors playing the couples are seasoned veterans of film comedy (although each is more than capable of handling dramatic roles, as well).
    • 46 Metascore
    • 37 Critic Score
    By the end, though, the original bits fade as easily as one song bleeds into another.
  11. There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
  12. An unfunny comedy by Tony Vitale that is enacted not by fleshed-out characters but by hackneyed, two-dimensional stereotypes. There’re so many sexual and ethnic caricatures, it’s hard to know which is most offensive.
  13. The movie's self-importance is further inflated by the usual pseudo-Wagnerian score and occasional narration by John Hurt.
  14. As Snow White, actress Lily Collins is a washout.
  15. 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.
  16. A movie that sags and drags under the weight of poor pacing, execrable writing and largely unlikable characters.
  17. This vainglorious biopic about Bobby Darin is really about what the '60s pop singer and actor means to Kevin Spacey.
  18. More than predictable. It plods along with the inevitability of a doomed soldier going off to war.
  19. As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
  20. I spent most of Johnny English wondering whom the filmmakers were targeting. While childish and silly, it's far too violent for young kids.
  21. Perhaps Steven Soderbergh's metamorphosis from clever Cajun auteur ("sex, lies, and videotape") to heavy-duty Eastern European angst-master has been altogether too successful. Like authentic Soviet Bloc cinema, Kafka makes its audience suffer along with its heroes.
  22. I wished Next Day Air were funnier. In the end, it's a fitfully amusing, sloppy comedy that doesn't work very hard for your 10 bucks.
  23. Artistically, You, Me and Dupree is a mess. Technically, it's an abomination. Spiritually, it's a void. Commercially, it'll probably be a big hit.
  24. Even the basic look of the film -- it was filmed on a stage with every shot set against a bleak, dark backdrop -- underscores the filmmaker's position as master manipulator, in a laboratory, looking down at his mice running through his maze.
    • 46 Metascore
    • 75 Critic Score
    This film manages to have the feel of an original -- and very effective -- piece of comedy. In part this is due to the delicate touch of director Michael Lehmann ("Heathers"), who never allows the film to slip into a silly mode.
    • 46 Metascore
    • 50 Critic Score
    Separates the tech-savvy boys from the lost-in-cyberspace men. Really--the movie may be too fast and confusingly jargon-choked for everyone but Netsurfers and Webheads.

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