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. What we have here is a movie with not just one, but a family pack of psychos.
  2. Feels razor thin. None of the characters is particularly noteworthy. And the revelations of deep-seated conspiracy in the usual privileged, closed circles are hackneyed and tired.
  3. This film isn't so much a sequel to the original "American Pie" as a reduction of it.
  4. Evolution is bad. How bad? Who cares? Do you ask how hot the fire is before running out of a burning building? No, you just run for safety.
  5. It's sheer piffle, a disingenuous romance with Val Kilmer and Mira Sorvino that's all sap and no sizzle.
  6. 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.
  7. All in all, High Crimes isn't worth the crayons it took to write the script.
  8. Schlocky, sluggish shoot-'em-up.
  9. The most screamingly obvious reaction to Gerry is: what a load of pseudo-arty you-know-what.
  10. Here are some of Summer School's favorite things: idiocy, illiteracy, irresponsibility, drunkenness, dumbness and debauchery. Piqued? [24 July 1987]
  11. The film would be insufferable if it weren't for the total sincerity and commitment of its players.
  12. Piddling spoof.
  13. Relentlessly offensive.
  14. The movie is less than nothing special. The movie veers between pretentiousness (oh, the plight of the instant, start-up Artist) and vacuousness.
  15. Some stories are eternal. They will not go away. They are told and retold for generations. Take the story of Jesse James --it is not one of them.
  16. Is Meg Ryan going to play the goofy romantic gal forever?
  17. A bungled screen version of Louis de Bernieres' cult novel, Captain Corelli's Mandolin was doomed from the moment Nicolas Cage was cast as the "life-devouring," Puccini-loving hero.
  18. Lacks that outrageous effrontery that might have socked it to its intended audience.
  19. The sort of clumsy undertaking that trips up everyone and everything in it.
  20. It's exactly like "Star Wars" -- if you subtract a good story, sympathetic characters, intelligence, wit and moral purpose.
  21. Director Griffin Dunne lacks a clear vision, torn between blithe spirits and brimstone, between madcap and macabre. But then what does it matter when there's so little magic on screen anyhow? That is unless you count making audiences disappear.
  22. The jokes are lame, the set-up is stupid and Bullock, occasionally a winsome comedienne and here a co-producer, is annoying as heck.
  23. The movie is fussy and organized rather than moving. It follows a pattern so precisely, it's as if Lahti thought points would be taken off if she colored outside the lines.
  24. Polanski, generally, has fallen farther than Lucifer, and into a more profoundly depressing hell, the hell of utter banality.
  25. The movie covers too much ground with too little detail. It manages to be convoluted, complicated, incomprehensible and maddeningly thin all at the same time.
  26. How much you enjoy this movie depends on how funny you find Sandler talking out the side of his mouth with a gravelly squawk -- for the entire movie.
  27. Luckily, life (just like the SAT) has its multiple-choice options. You don't actually have to watch this.
  28. If there's one piece of wisdom to be culled from this botched project, it's this: No one gets Carter.
  29. A serious been-there-done-that number.
  30. Your own final destination just might be the box office, to demand your money back.

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