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 5.4 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. Relentlessly offensive.
  2. So rich in processed sugar, canned sentiment and schmaltz, I thought I was going to throw up.
  3. The only thing that's truly scary about the movie is the escalating vulgarity of the latest in a string of skanky comedies by filmmakers determined to out-gross the other.
  4. Never asks its target audience of self-referential baby boomers and their littles bundles of joy to take it more seriously than it takes itself.
  5. As a movie, this is exciting stuff.
  6. Although the hallmarks of Rudolph movies can be found everywhere -- they don't add up to the usual magic this time.
  7. Mostly, the movie is riveting, well-done fare -- the stuff of Hollywood epic adventure.
  8. If you choose to see this puerile tripe, check your dignity at the door.
  9. The visual comedy is brilliant.
  10. It's the sort of movie that can make normally well-read and intelligent viewers feel stupid.
  11. It continually crashes and burns on its own banality.
  12. Shaft? Not in this splashy-but-empty remake he isn't.
  13. An adolescent romance that isn't smart enough to mirror "When Harry Met Sally" or crudely amusing enough to get close to "American Pie."
  14. The film's climax was only one of several moments that left me utterly verklempt, without ever knowing that my buttons were being pushed.
  15. Crudup gives a performance that is by turns scary, heartbreaking, grotesque and funny as hell.
  16. KEN, KEN, KEN, not another Shakespeare, pleeeeeeez.
  17. The best thing about this movie? It's short.
  18. It's a brilliant, profound movie, but it's almost no fun at all.
  19. There were moments when I thought Gone in 60 Seconds might be a passably entertaining movie. I figure those moments, strung end-to-end, would total 30 or 40 seconds.
  20. If you're not rolling in the aisles, you're definitely in the wrong theater.
  21. It has as much of an ax to grind as the humorless and misguided bureaucrats it mocks.
  22. You won't feel enlightened, just let down
  23. Intentionally defies categorization and explication.
  24. Childishly simple, but extremely funny.
  25. The episodes are too convoluted to get into.
  26. Such a feast of outlandish pleasures it'll send you home steam-cleaned and shrink-wrapped.
  27. Diverting and provides a satisfying alternative to teen-oriented summer comedy.
  28. It satisfies your appetite for totally tasteless but deliciously flaky boy movies.
  29. The occasional big moments are stunning, and kids from the ages of, say, 6 years to 6 years and 3 days will love it. Anyone younger will be scared; anyone older, bored.
  30. All dancing and hugging and no good.
  31. A darkly interesting distraction but not much more.
  32. A million monkeys with a million crayons would be hard-pressed in a million years to create anything as cretinous as Battlefield Earth.
  33. Friends, Washingtonians, countrymen, I come not to praise Gladiator but to bury it.
  34. The story the film tells ruins the movie.
  35. Moderately pleasing adaptation of the W. Somerset Maugham novella.
  36. A pleasure because of zany developments like this, and a healthy dose of amusing characters.
  37. I'd rather sit in bumper-to-bumper hell on I-495 for two hours than get caught in Traffic again.
  38. It's like a chick flick for men--and the women who love them, sniff-sniff.
  39. It's zany. Actually, it's so zany it's almost creepy.
  40. Unromantic, nonsexual and hellaciously dull.
  41. Tries to put your tear ducts in a headlock with a litany of catastrophes.
  42. A brain-cramping and eye-straining experiment in digital filmmaking.
  43. Should have never made it up the distribution aisle.
  44. The movie isn't about anything except acting, and although the acting it shows is brilliant, it makes exactly the point that is the opposite of the point it thought it was making: Acting isn't enough.
  45. More interesting for the world it evokes rather than the drama that unfolds.
  46. The real star of U-571 is its sheer visceral atmosphere.
  47. Demonstrates that a movie need not be good to be cool.
  48. While not exactly a cop-out, Virgin may leave some viewers who crave traditional closure with the same hollow ache described by the narrator as follows: "What lingered after them was not life but the most trivial list of mundane facts."
  49. This one has crossover hit written all over it.
  50. The bad news? The story, which rumbles along like an unattended wheelchair on a gently sloping sidewalk.
  51. May be the most ruggedly decent film to come along in a couple of decades.
  52. An edgy, irreverent, thoroughly winning comedy.
  53. There's nothing beyond the bloodshed and gallows humor, just intellectually secondhand implications about materialism, conformity and misogyny.
  54. So phony it makes your gums ache.
  55. If Southpaw leaves you hungry, this much is also true: The "food" was good in the first place.
  56. It is the verdict of this court that it be led to a stockade reserved exclusively for cheap, pandering movies and duly shot.
  57. The two-hour film never feels a minute too long.
  58. A brainy, superbly acted buddy movie.
  59. Bizarre yet popular.
  60. Smits can't wrench free of this tangle of cliches.
  61. The movie itself may be a species of Montezuma's revenge.
  62. A guaranteed pleasure for anyone who ever loved pop music, owned a record collection or suffered in love
  63. A heartbreaker, plain and simple.
  64. A moldy teenage tear-jerker.
  65. It's still got some panache.
  66. There's a refreshingly unusual spirit at work.
  67. This wonderfully acted romance brings the touching fantasy "Truly, Madly, Deeply" to mind.
  68. Based on "Romeo and Juliet" the way a martini is "based" on vermouth.
  69. It is a rabble-rousing cheerfest, based on a true story.
  70. Your own final destination just might be the box office, to demand your money back.
  71. You don't have to love WWF scrapping to appreciate this movie.
  72. A surprisingly gripping experience.
  73. I'm not sure if it was that or the cloying script, but after a couple of hours of spinning around listening to this drivel I felt like I was going to barf.
  74. Polanski, generally, has fallen farther than Lucifer, and into a more profoundly depressing hell, the hell of utter banality.
  75. Really two movies in one, and there's not enough breathing room for both of them.
  76. It's too bloody to be funny and too silly to be dramatic and too self-indulgent to be anything other than what it is, one more bad movie.
  77. I watched Mona. I felt like drowning.
  78. Has its sinfully funny moments. Funny, that is, if you appreciate a certain cynical clamminess -- or Buck Henry seediness -- to your comedy.
  79. Something to get excited about.
  80. Extraordinarily poetic, suspenseful film.
  81. Here's a film that so merrily thumbs its nose at propriety in exchange for visceral thrills, and at probability in exchange for the really cool plot twist, that it checks in as the guiltiest pleasure since "The 13th Warrior."
  82. Derivative dumpling of a romantic comedy about Irish sexuality.
  83. The sad truth is that Wonder Boys is little more than a sentimentalized encomium to the disheveled, childish life it ascribes to writers.
  84. A portrait of a hero.
  85. The movie's devil-may-care freneticism is edgily amusing, almost liberating.
  86. As a piece of journalism then, Boiler Room is first class.
  87. Essentially an extended cutesy session.
  88. This Matt Perry vehicle is funnier than anyone could hope to expect.
  89. At first, the picture is moving. . And suddenly charm turns to quasi-commie didacticism.
  90. You are allowed to come up with a monster we haven't seen before.
  91. Serves as a fascinating exploration of racial and social prejudice; and an indictment of cultural miscegenation.
  92. There's little here to offend anyone, and even less here to excite anyone.
  93. Feels more like an overblown TV special than a grand theatrical release.
  94. Relentlessly beautiful and wholly annoying.
  95. It's plenty entertaining, but the ending is disappointing, given the buildup.
  96. A chalice of unpretentious delight, flowing over with goodwill, a cheeky love for soccer and, uh, Buddhist humor.
  97. If it were the last videotape available in the only video store in the remotest corner of Alaska, I'd take one last slug of Jack Daniels and start walking directly into the howling snows.
  98. 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.
  99. I had to beg my 8-year-old to stop laughing.
  100. Hilarious.

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