Wash, The

Boston Globe Jonathan Perry

This real-life alliance is part of what makes the slice-of-life comedy The Wash work as well as it does, despite a somewhat skimpy though often crassly amusing script written by the film's director, D.J. Pooh.

USA Today Andy Seiler

Good spirits are worth something, and the movie has them, as well as scattershot chuckles.

The New York Times A.O. Scott

Isn't much of a movie (it'll play much better on the small screen), but the likable chemistry between Dre and Snoop counts for a lot.

New York Daily News Elizabeth Weitzman

Commits the cardinal sin of moviemaking: It leaves you bored.

Entertainment Weekly Owen Gleiberman

This rusty jalopy of a movie, which is so ramshackle it's nearly enough to make you forget how tossed-together the 1976 ''Car Wash'' was.

New Times (L.A.) Luke Y. Thompson

If it had anything that even approached the vaguest vicinity of a plot, The Wash might be a cool diversion for a Saturday afternoon at the mall.

New York Post Lou Lumenick

Boring and desperately unfunny.

San Francisco Chronicle Carla Meyer

The picture itself seems stoned. Line readings and whole scenes are abandoned midstream, as if Pooh lacked the attention span to see his ideas through.

Washington Post Michael O'Sullivan

The story here is just not particularly amusing.

Los Angeles Times Gene Seymour

A knucklehead operation, all glands and attitude with no heart or brains.

TV Guide Maitland McDonagh

The pacing is slack, the comedy has an oddly sour tone and frankly, no matter how hard the script tries to paint Sean as a petty martinet with a stick up his butt, it's hard not to sympathize with him.

Austin Chronicle Russell Smith

Next time, Pooh, why not do the work it takes and give your drowsy-eyed meal tickets some of the (as it were) good shit?

Washington Post David Segal

There's precious little to listen to, laugh at or ogle in The Wash, a sudsy slog that gets sidetracked by, of all things, a plot.

Variety Joe Leydon

A sloppy and shoddy piece of work, filled with just about every cliche and caricature common to low-budget, low-brow comedies with predominantly African-American casts.

LA Weekly Ernest Hardy

What the film suffers from most, though, are its own low aspirations: stroking the libidos and funny bones of brain-dead 12-year-old boys immersed in the shallow end of hip-hop.