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 5.3 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. A flagrantly vicious and broken-down murder melodrama that leaves recognizable fingerprints all over the place while making a chump of director William Friedkin. [13 Oct 1995, p.C16]
    • Washington Post
  2. Rourke is, in fact, exceedingly creepy. There's an unpredictable, resonant menace in his eccentricity. But Cimino can't connect the movie's thriller elements to its themes. We end up spending way too much time indoors while this thug waves a gun at these poor innocents.
  3. The story the film tells ruins the movie.
  4. 54
    The movie is almost completely uninteresting on the story level but fascinating as a work of imagined reconstruction and anthropology and as a study of the theory and practice of Studio 54.
    • 33 Metascore
    • 30 Critic Score
    An hour and a half of real airplane turbulence is better than sitting through the bad, offensive material that makes up Soul Plane.
  5. It wants us to believe that being popular and getting the cutest guy in school really is the key to happiness. Like, how totally last century is that?
  6. Even by Disney's formulaic standards -- is about as cut and dried as the phone book.
  7. The effect isn't just frenetic, unfunny and dull. It's kind of creepy.
    • 33 Metascore
    • 20 Critic Score
    Forsyth's script feels uncomfortably improvised, so almost all of the performances are hesitant and unconvincing. [06 May 1994]
    • Washington Post
  8. People don’t go to Sparks movies for subtlety; they go to warm their hearts by bearing witness to true love. Of course, that requires a story that rings true. In The Longest Ride, authenticity is in short supply.
  9. Like a Boss is the perfect airplane movie: something that won’t distract you terribly much while you work the New York Times crossword puzzle during a long flight, periodically looking up at the screen when the 2-year-old in the seat behind you kicks the back of your chair. Oh well. At least that way you won’t fall asleep.
    • 33 Metascore
    • 12 Critic Score
    A retread of just about every rom-com cliche ever turned.
  10. Lacking in both inspiration and ingenuity, it doesn't so much spoof the conventions of the genre as dumb down famous -- and in some cases, forgotten -- scenes from a slew of other movies.
  11. Don't hold your breath waiting for The Punisher to be original, not for one second of its torturous two hours.
  12. Moonstruck writer John Patrick Shanley and Irish director Pat O'Connor are absolutely out of their league, a couple of artists slumming, hoping to bring sensitivity to a genre that could well use it. But all they've done is make you appreciate the true value of the car chase.
  13. This preposterous stalker flick, in fact, has less to do with America's favorite pastime or Gil's psychosis than with Hollywood's own obsession with blood sport. And for all British director Tony Scott knows about baseball, the thing might as well have been set in a cabbage patch.
  14. Amusing premise, not-so-amusing execution.
  15. A stunningly insipid romance, marks an all-time low for actor Zach Braff -- his "Gigli," if you will.
  16. Extended scenes are dominated by heavy dialogue, while the lighter moments are relegated to montages of prancing across a beach, for example, which simply aren't that effective at buoying the drama.
  17. If there is a Hell, Not Another Teen Movie will be playing for all eternity on every screen there.
  18. The movie is neither good nor bad, but in its clever packaging of boy fantasy and girl fantasy, extremely cunning. As for Princess Diaz, no force on Earth can stop her now.
  19. The problem is quantity. There are so many action sequences related to so many story lines that midway through an epic fight, you might find yourself wondering what exactly started this particular battle and what the objective is other than destruction for the sake of it.
  20. The plot is paint by numbers, which puts pressure on the comedy to deliver. But it doesn’t.
  21. Redeeming Love is an incident-rich saga populated by cardboard heroes and villains and outfitted with greeting-card sentiments and cartoon villainy.
    • 32 Metascore
    • 50 Critic Score
    UHF
    UHF is not a uniformly funny experience, unless you have to wear a bib and tend to laugh at anything, such as sudden gusts of wind. Yankovic, co-writing with manager Jay Levey (who also directed), goes for gag after gag. Some hit, some miss. You laugh, you cry.
  22. For a comedy, there are precious few real laughs. Three to be exact.
  23. As dull as the decor in a Motel 6.
    • 32 Metascore
    • 30 Critic Score
    Perhaps the best thing that can be said about I Love You, Beth Cooper is that the title is correctly punctuated. Beyond that, the movie is a disappointingly flabby teen flick.
  24. You could call it a nightmare but that would be an insult to Elm Street.
  25. There’s tension to be wrung from the premise, but Luketic is content to telegraph his movie’s juiciest twists, concentrating instead on applying a sleek visual sheen usually reserved for shampoo commercials.

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