Washington Post's Scores

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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:
  1. Positive: 6,014 out of 11478
  2. Mixed: 3,069 out of 11478
  3. Negative: 2,395 out of 11478
11478 movie reviews
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  1. In the Aisles
    Many reviewers have compared the mood of In the Aisles to the stories of Raymond Carver, and it’s not a bad analogy. Stuber, who wrote the screenplay with Clemens Meyer (based on Meyer’s short story), is adept at evoking both the ache of unanswered longing and the tiny promise of redemption that flickers still within the human spirit, even when crushed under the weight of soulless drudgery.
  2. Tom at the Farm
    It’s a claustrophobic drama that unfolds like a thriller, although its characters are so bizarre that sympathizing with them is difficult.
  3. The Last Starfighter
    At once warmly earthbound and nobly starstruck, it should give receptive spectators a savory pick-me-up. [13 July 1984, p.E1]
    • Washington Post
  4. The Disappearance of Eleanor Rigby: Her
    In viewing the same tale retold from two mutually exclusive vantage points, we become aware of how “Him” and “Her” deepen and enrich certain aspects of the story, adding contrast and, at times, contradiction, to the whole.
  5. A Master Builder
    For a movie that lasts longer than two hours and is made up solely of talking, it’s impressive that the story never seems to drag. But with all of the possibilities of movie magic, it’s a shame that the characters keep us at arm’s length.
  6. Music from the Inside Out
    Is it a great film? Not quite. It flits from idea to idea too promiscuously and relies too much on the visually deadening use of people talking on camera. But among the dull passages there are moving stories, and a very loving sympathy for the people it profiles.
  7. Garden State
    Garden State features some wonderful performances, chief among them an engaging, even courageous turn from Natalie Portman.
  8. The Green Prince
    Sometimes a great story is enough to overcome mediocre storytelling, and that’s the case with the documentary The Green Prince.
  9. The Year My Parents Went on Vacation
    What The Year My Parents Went on Vacation seems to be about, in the end, is big-time sport as the opiate of the masses.
  10. Water Lilies
    It's a world where every emotion feels like the earth moving, and where the shifting tectonics of young lust and friendship, along with the lifelong lessons of a broken heart, have never felt more real.
  11. Cut Throat City
    This makes for an entertaining, if familiar ride.
  12. Long Shot
    You don’t have to suspend disbelief to enjoy Long Shot. You have to jettison it entirely, along with any sentimental attachments to archaic fundamentals such as sparkling dialogue, organic structure and genuine sexual chemistry.
  13. Crystal Fairy & The Magical Cactus
    Part drug comedy, part psychological drama, the movie is slight, but only superficially so. As the closing credits role, we’re left not with a sense of a day at the beach, but of what might be swimming out there, in the dark of the abyss.
  14. Freaky
    Don’t think about it too hard. Freaky isn’t AP Bio. It’s a shop class project: a couple of mismatched planks cobbled together well enough to get a passing grade.
    • 67 Metascore
    • 88 Reviewed by
      Ty Burr
    The Legend of Ochi
    If you’re up for a film that tells its own tale, rather than the one it thinks you want to hear, this one has a touch of madness to it, and it seems fashioned from love and old parts for people who genuinely don’t want to know what’s going to happen next.
  16. Schultze Gets the Blues
    Schorr's endearing little movie gets under your skin much like the music it celebrates.
  17. Alice's House
    Even though it sounds awfully depressing, there's something moving about watching people go at their lives with everything they have -- or don't have.
  18. Girl Asleep
    Girl Asleep isn’t easy to categorize. It’s a wild curiosity that shifts on a whim. In that sense, there couldn’t be a better metaphor for the inner workings of a teenage girl’s mind.
  19. 1984
    The movie stands simply as an artful adaptation, and not an altogether engaging one. The repeated scenes of the rallying mob, chanting and howling at Big Brother on the screen, soon grow tiresome; like everything about 1984, they seem redundant.
  20. Furious 7
    Yes, the whole movie feels overstuffed and overlong, and the non-action scenes are often dragged down by stilted dialogue. But Furious 7 buzzes with a frenetic energy so contagious, there’s no sense in resisting it.
  21. Scotty and the Secret History of Hollywood
    If Bowers’s present-day life has slowed down considerably, his memories haven’t, and the subject of Scotty and the Secret History of Hollywood exerts his luridly voyeuristic pull, as he shares name after name of his most shocking exploits.
  22. Upgrade
    If this vaguely cyberpunk, occasionally comic Australian flick were named after its own qualities, it would have been called “Knockoff.”
  23. The Rose
    The best reason to see The Rose is to be in a position to relish the inevitable parody on "Saturday Night Live." Here's a sitting turkey that virtually sits up and begs to be plucked. [8 Nov 1979, p.F1]
    • Washington Post
    • 67 Metascore
    • 80 Critic Score
    The Boy Who Could Fly
    It's funny and sad and a little surreal, the kind of movie that makes you willingly suspend your disbelief. You don't have to be a kid to enjoy it, but you'll feel like one again when it's over.
  25. Brothers of the Head
    Ultimately, Brothers is a flashy, stylistic show of emptiness, intended to protest emptiness. But that's clear almost from the outset.
  26. Private Parts
    Private Parts, lifted from Stern's best-selling autobiography, is a choppy amalgam of "Revenge of the Nerds," "Father Knows Best" and "Network."
  27. Patti Cake$
    Patti Cake$ winds up being a celebration of art, enterprise and self-invention that’s as tough as it is touching. At the risk of mixing metaphors, not to mention musical genres, it rocks.
  28. Death at a Funeral
    Shows us how funny farce can be -- even with the hokiest of premises -- in the hands of the British.
    • 67 Metascore
    • 63 Reviewed by
      Ty Burr
    The Surfer
    The Surfer feels overthought and underwritten, a cacophony that builds to an undeserved power chord of acceptance, transcendence and retribution.
  30. Moscow on the Hudson
    For the first 40 or 50 minutes of Paul Mazursky's Moscow on the Hudson, I was convinced it was going to emerge as a great human interest comedy. But it takes such a nose dive in the final hour that bailing out early may be the only way to protect a favorable impression.
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