Washington Post's Scores

Select another publication »
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:
  1. Positive: 6,014 out of 11478
  2. Mixed: 3,069 out of 11478
  3. Negative: 2,395 out of 11478
11478 movie reviews
view
per page
    • 46 Metascore
    • 30 Critic Score
    The Dead Pool
    Unless you're a Clint fan there's little other reason to sit through this one.
    • 42 Metascore
    • 37 Critic Score
    Phantasm II
    After interminable delays and unresolved digressions, we finally get to see some decent special effects, but hardly enough to warrant sitting through the entire film. [12 July 1988, p.D6]
    • Washington Post
  3. License to Drive
    I spent a lot of time during the new Corey Haim-Corey Feldman movie, License to Drive, trying to figure out where it is set. Then it hit me. IT IS SET IN HELL! Hell, in this case, is a place where all the actors are named Corey. Where everyone is under the legal drinking age. Where everybody still breathes through his mouth and Oxy-5 flows like champagne.
  4. Coming to America
    Coming to America isn't as aggressively awful as the "Cop" films or "The Golden Child," but at least in those films there was something to react to. In making Coming to America, Murphy seems to have set his sights on the lowest prize imaginable. He aspires to blandness.
  5. Who Framed Roger Rabbit
    An instant slapstick classic from Disney and Steven Spielberg. Already, it's a hare's breadth away from legend. [22 June 1988]
  6. Red Heat
    Red Heat is poorly, or even indifferently, made. It's a joyless exercise, and too much angry resignation seeps in for it to be very funny or very entertaining.
  7. The Great Outdoors
    If the John Candy-Dan Aykroyd comedy The Great Outdoor had a few more laughs we might be tempted simply to write it off as mediocre and let it go at that. But this woodland farce is just coarse enough, and unfunny enough, to achieve true awfulness.
  8. Bull Durham
    You may catch yourself trying to remember where you parked a little before the end.
  9. The Presidio
    Doubling duties as director and cinematographer, Peter Hyams seems to have tossed the former for the latter. The Presidio, purported cop thriller, looks great. It is, in fact, less filling. The maker of "Outland" and "2010" infuses a San Francisco setting with evocative misty grays, but screenwriter Larry Ferguson's dull doings hang thicker than smog.
  10. Poltergeist III
    Gary Sherman, the film's cowriter and director, has set up a showcase for scary effects, and some of them are rather nice, in a grisly sort of way. It's clear that Sherman knows how to engineer this sort of thing. What's also clear is that without some semblance of an actual movie around them, these pyrotechnics really start to get on your nerves.
  11. Big Business
    This classic comedy of errors is over-structured by cousin-writers Dori Pierson and Marc Rubel and mechanically laid out by director Jim Abrahams.
  12. Big
    Big has a warmhearted sweetness that's invigorating; it makes you want to break out the Legos. It's only near the end of the film, when Hanks has to play the scenes for pathos, that the movie becomes cloying.
  13. Funny Farm
    The problem is that the director, George Roy Hill, tries to construct a real universe around Chase and his costar. And for a time he's able to give the comedy some snap. But after the couple settle in their new home and nightmare piles on nightmare, the picture deteriorates into a shtickfest and the sense of reality drags on the proceedings.
Page:

Top Trailers

See all »
See all trailers »