Washington Post's Scores

For 11,478 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 5.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Oppenheimer
Lowest review score: 0 Dolittle
Score distribution:
11478 movie reviews
  1. From opening to closing credits, there isn't a single genuine moment -- as phony as a dime bag of oregano.
  2. Less a movie than an act of vandalism.
  3. The fat cats of Hollywood have coughed up a hairball.
  4. About half a notch above disaster.
  5. It's about women, but as written and directed by a man, it appears to make no emotional sense at all. It treats women like idiots.
  6. A third-rate love story.
  7. This one's a turkey as big as the Eiffel Tower but it's bad in a particularly American way: It's wildly overdone, it throws in everything in an attempt to appeal to everyone, it's gargantuan and anti-logical, pointlessly ornate and pointlessly violent.
  8. It has no moments of athletic grace amid the chaos, no apparent sense of strategy. It's basically just mayhem set to rock music.
  9. Not that much deep thinking went on here.
  10. Neither character seems especially insightful, and their intense focus on the self and the terrific delicacy of their feelings comes to feel narcissistic and annoying.
  11. The most surprising thing about the movie is that somebody bothered to make it in the first place.
  12. A numbingly unfunny romantic comedy. I hated every minute of it
  13. The only way a self-absorbed treatise like this can get any kind of audience (not to mention distribution) is to cast famous people in it.
  14. Godzilla, go home.
  15. Let's not waste any time: This movie is just awful. Prime problem: Josh Kornbluth, the chubby, wild-haired, bug-eyed star.
  16. Terribly tragic, terribly romantic and, ultimately, terribly, terribly dull.
    • 25 Metascore
    • 10 Critic Score
    A two-hour stink bomb, Boxing Helena is a pitifully pervy piece of work.
  17. Let's talk about it quickly, because the thumbs of both my hands have gone similarly crazy. They're pointing downward and refuse to budge until I finish this review.
  18. Screenwriter Lona Williams and director Michael Patrick Jann spare no attempt to show characters at their zaniest, wackiest or most grotesque. The effect is disconcerting. Is this light comedy or dark satire? It ends up being neither.
  19. So dull and formulaic, it ought to be leashed and led directly to the doghouse.
  20. The movie's a floating longboat that ought to be ignited and pushed out to sea, Viking style.
  21. A smutty, imbecilic farce.
  22. A gooey romantic comedy that sticks to everything except its principles.
  23. A big, fat clunker.
  24. Consider the title your best advice.
  25. This movie reeks, stinks, smells and destroys life as we know it with one olfactory destructive blast.
  26. The only quandary in this film is in where to begin despising it.
  27. Lazily written and hopelessly miscast.
  28. The mind will be starved for subtlety, wit and substance.
  29. Stinketh like the breath of a dyspeptic dragon.
  30. It's too bad we don't have red, glowing DELETE buttons next to those soda cup holders. I could have done the world a favor.
  31. Tries to put your tear ducts in a headlock with a litany of catastrophes.
  32. The rare film that is capable of offending both Trent Lott and Al Sharpton.
  33. For da love of God, spare me.
  34. Size vanquishes both substance and subtlety in the overhyped, half-cocked and humorless resurrection of dear old "Godzilla."
  35. It's stingy at heart. Burton, who collaborated with British screenwriter Jonathan Gems, brings nothing of "Edward Scissorhands's" magic or "Beetlejuice's" wacky fun to this sadly empty exercise. Aimlessly plotted and blandly written.
  36. It can't fake sincerity. It tries ever so hard, but it doesn't have a single believable second. Every word in it is a lie.
  37. Puerile bluster.
  38. The scariest thing about this hokey bombast is that it got made in the first place.
  39. Though R-rated, its real target audience is under 18 -- either in years or IQ points.
  40. Confusing as heck.
  41. Oh, please. Stop and smell the manure.
  42. A blundering cringefest, thanks to unintentionally laughable dialogue, hackneyed writing and uninspired direction.
  43. An unoriginal warming over of a skimpy Japanese production that has been re-edited, rescored and rewritten for American tots and padded out to feature length with a plotless short called "Pikachu's Vacation."
  44. Tries desperately to lower the bar for scatological gags, rank sexual humor and cheap physical shots.
  45. A classic like this deserves to be unearthed! After all, this picture is likely to command a pedestal of its own at the local video store. Just check for shelves marked either "Sharon Stone" or "Staff's Worst Picks of 1999."
  46. An insufferable piffle.
  47. Another cheesy, overdrawn and witless "Saturday Night Live" takeoff.
  48. Redundant, humorless and overlong screenplay.
  49. Isn't juvenile, it isn't even infantile. It's prenatal!
  50. The movie isn't exactly providing entertaining escape. In fact, the only escape on your mind is going to be the exit door.
  51. It's not brazenly bad or heroically bad or stridently bad. It's bad in all the old, dull ways of being bad: poor performances, absurd story, dreary special effects, witless dialogue and the excessive length of someone taking himself far too seriously.
  52. Shamelessly manipulative in a crude, bullying way.
  53. A noisy, impenetrable and totally nonsensical cogitation on the nature of firefighters and the sizzling "animal" they love...We just wish somebody would call 911 for boredom.
  54. A meet-cute whimsy set among divorced fifty-somethings in New York, it blunders on toward oblivion, excruciatingly unfunny and pitifully unromantic.
  55. It is the perfect modern product: loud, banal, empty, frenzied, plasticized, flavorless, drab, violent in a bloodless way and sexy in a sexless way.
  56. How bad is it? Let me count just some of the ways.
  57. I watched Mona. I felt like drowning.
  58. 8MM
    In the uncertain zone between dumb and truly twisted lies 8MM, a movie that will baffle and disgust you in one disconcerting experience.
  59. [Gere] seemed to be improvising his way from beginning to end, like he was disgusted with the actual script.
  60. For a suspense drama, Impact is a slack, oddly enervated and mawkish soup of largely lethargic performances.
  61. It's depressing enough to sit through an unfunny comedy, but it's worse to watch Falk, Penn and Berg having to earn a living like this.
  62. Leaden, laugh-free, lacking anything resembling a heart, mind or soul.
  63. A crackpot Looney Tune, pretentious, abysmally slow, amateurishly acted and, above all, wrong.
  64. The gratuitous vulgarity is just one more reason that Scooby-Doo should never have left the pound.
  65. In the end, I'm wondering what's so special about a film that has but one guilty pleasure and that's Ben Kingsley spraying saliva-lubricated variants of the F-word into the atmosphere like anti-aircraft fire for 10 solid minutes.
  66. Chris Farley walks into walls, trips over invisible banana peels and otherwise makes a fat ass of himself in this imbecilic, slapstick adventure from the producers of "Dumb and Dumber."
  67. In this movie, the sense of charm has been obliterated.
  68. Not just a bad thriller but also a thing of pain.
  69. Equilibrium is like a remake of "1984" by someone who's seen "The Matrix" 25 times while eating Twinkies and doing methamphetamines.
  70. Avoid this movie unless a) your child has refused to eat until you take him or her, or b) your house is being fumigated to kill an infestation of mosquitoes with the West Nile virus.
  71. The Godfather Part III isn't just a disappointment, it's a failure of heartbreaking proportions... It makes you wish it had never been made.
  72. The movie is really just an elaborate excuse to show repeated close-ups of an elephantine dog scrotum.
  73. An abominable, abdominal comedy. Aside from its tastelessness and dawdling pace, the movie’s chief problem is the lackluster chemistry between leading lummoxes Jim Carrey and Jeff Daniels.
  74. If you choose to see this puerile tripe, check your dignity at the door.
  75. Definitely stuck in the fourth grade.
  76. So twitchy, fidgety, skittery and wiggly that the drug it made me yearn for was Dramamine, followed by a chaser of bourbon, 12 years old.
  77. There are two distinctive features to the movie: the mind-numbingly banal plot as one chases another who chases another, and all the offensive material.
  78. There's a thin line between some drag comedy and misogyny, and Girls Will Be Girls, a crass comedy in which all the women are played, with over-the-top abandon, by men, roars past that line.
  79. A depraved, incoherent, instantly disposable piece of hackery.
  80. The most lethal weapon of all turns out to be the script.
  81. Like a wounded yeti, Batman & Robin drags itself through icicle-heavy sets, dry-ice fog and choking jungle vines, before dying in a frozen heap. Unfortunately, that demise occurs about 20 minutes into the movie, which leaves you in the cold for approximately 106 minutes.
  82. Watching it is like being forced to listen to bad heavy metal music turned up to 11 while fat guys in Bermuda shorts compete in a puking contest in the john.
    • 17 Metascore
    • 10 Critic Score
    Merely airheaded where it should be lighthearted, Hudson Hawk offers a klutzy, charmless hero, and wallows dully in limp slapstick and lowest common denominator crudeness.
  83. The projectors in the theater practically shut down with boredom.
  84. I wouldn't want you to consider even renting this thing. It would only encourage another prequel, this time featuring two dumb toddlers who keep walking into doors and become great pals. Call it "Duh and Duh."
  85. You know a movie is in trouble when its biggest laughs come not from its lead players but from a dog and a car
  86. The film degenerates into sophomoric name calling and a brand of insult humor that would embarrass Don Rickles.
  87. Feckless and crude without any particularly funny redeeming value. If there's anything more to this poor excuse of a movie than immediately meets the eye, I'll get back to you.
  88. Let's cut to the chase: We're talking "Ishtar of the Apes."
  89. Bewildering, tediously violent.
  90. The episodes are too convoluted to get into.
  91. True to the film's name, there is one thing I couldn't hardly wait for, and that's the closing credits.
  92. So resoundingly awful, there may be grounds to sue for mental suffering.
  93. The whole thing is coarse and vulgar, as it hides its low fascinations behind a scrim of Holocaust piety until it becomes pure kitsch.
  94. It is horrible. Time curls up and dies while this Hilary Duff vehicle wheels its weary, conventional way along.
  95. Overblown and idiotic, this new "erotic thriller" is neither erotic nor thrilling; it's long, boring and self-indulgent.
  96. In this vile contribution to the animated holiday genre, Sandler proves himself once again determined to get rich by setting the bar just a little bit lower each time out.
  97. The movie is simply not professional. It's not, even by the lowest standards of Republic B-westerns in the '30s or bad, cheap horror films in the '50s, releasable.
  98. It's uncompromisingly bad, single-mindedly off-target.

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