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. Confessions of a Dangerous Mind
    A picture that is surely one of the oddest ever made.
  2. The Way I See It
    There’s some very, very funny stuff here. But the laughs gradually give way to a feeling of not just sadness and loss for a quality we no longer seem to see very much of in political life and public discourse, but a sense of creeping despair that we may never see it again.
  3. The Russia House
    In The Russia House, an extremely pleasant but lightweight espionage drama set in the glasnost age, Connery brings that charisma to bear and, with co-star Michelle Pfeiffer's help, makes the movie work.
  4. Solaris
    It could hardly be called rip-roaring. I should report that it drives about a quarter of the audience out of the theater before it is half over. That's because it's slower than molasses in Siberia.
  5. As Good as It Gets
    Gets bogged down in sentimentality, while its wheels spin futilely in life-solving overdrive.
    • 67 Metascore
    • 50 Critic Score
    Rudo y Cursi
    Enjoyable but forgettable.
    • 67 Metascore
    • 70 Critic Score
    Trust
    Trust is always interesting. And always interesting, as someone once said, is always good.
  8. Nancy
    The mopey, midwinter atmosphere of Nancy becomes increasingly and oppressively bleak, leavened only by Smith-Cameron’s spot-on portrayal of her character’s trembling, painfully fragile optimism.
  9. Fight Club
    A provocative experience that lights you up even as it brutalizes you. And I don't even like Brad Pitt very much.
  10. The Final Year
    The fly-on-the-wall film is fascinating at times, but less than essential.
  11. Sublet
    Directed and co-written by Israeli filmmaker Eytan Fox, whose films often deal with gay themes, Sublet feels like it’s setting itself up, just a little bit, as a same-sex version of How Stella Got Got Her Groove Back.
  12. Seasons
    By showing animals in all their mundane splendor, Seasons makes a case for conservation.
  13. True Stories
    True Stories is united not by narrative, but by Byrne's sensibility, and this is where it descends from being a boring piece of whimsy into something reprehensible.
    • 67 Metascore
    • 25 Critic Score
    This Is It
    For a man who so desperately wanted to show us perfection -- or at least project the illusion of it -- Jackson would never, ever want us to see this film.
    • 67 Metascore
    • 88 Critic Score
    The Way We Get By
    Not so much a slice of life as the whole pie, the highs and lows of twilight living, all found and filmed in a terminal at an airport in Maine. What a country.
  16. Somewhere
    "Don't tell, show" has been the writer's imperative for generations; Coppola takes that edict to its most visual and satisfying extremes.
  17. Frequency
    It's like a chick flick for men--and the women who love them, sniff-sniff.
  18. Dracula
    The new Dracula is a dazzler, a classic retelling of a classic text. From opening wolf howls through ominous, ambiguous concluding images, it sustains an exciting, witty, erotically compelling illusion of supernatural mystery and terror. [13 Jul 1979, p.E1]
    • Washington Post
  19. Queen of Glory
    Actress Nana Mensah (“After Yang”) makes an impressive debut as a writer-director with “Queen of Glory,” a dry comedy of culture clashes, both ethnic and generational.
  20. The Alpinist
    There is a revealing narrative here: a conflict, a climax and a denouement that you may not expect. The Alpinist has built-in drama, simply by virtue of who and what it sets out to document.
  21. Barbershop: The Next Cut
    If “Chi-Raq” aimed to shock us out of complacency, “The Next Cut” creates a more welcoming groove, encouraging greater openness to outside perspectives.
  22. The Book of Life
    The Book of Life may use state-of-the-art animation, but it derives its strength from the wisdom of antiquity. It only looks new, but it’s as old as life (and death) itself.
  23. The Wrecking Crew
    Nostalgia trips are fun, but when they intersect with genius, virtuosity and genuine revelatory insight, they take viewers to a higher place.
  24. The Page Turner
    What The Page Turner lacks in scale and ambition, it makes up for in precision. It's a small French delicacy, tart, acerbic and cynical, that focuses on three or four characters and yet manages to bring them and their dilemmas to vivid life.
  25. Flanders
    Flanders, which takes us from the rustic heartland of northern France to the killing fields of an unnamed foreign locale, has such a primitive poetry, we are moved even by its most gruesome moments.
  26. The Unbelievable Truth
    A jumble of subplots and suppositions, The Unbelievable Truth ultimately comes together as suburban farce in a door-banging conclusion to all the wild speculation.
  27. The Future
    What does The Future hold? Wonders, each of them weirder and more unnerving than the last.
  28. Cinderella
    For all its gossamer, gauze, filigree and refinement, Cinderella drags when it should skip as lightly as its title character when she’s late getting home from the ball.
  29. The Spy Behind Home Plate
    The film has more than enough true material to fuel an effective thriller, but director Aviva Kempner doesn’t quite manage to bring this fascinating figure to life.
  30. Alice
    At its best the movie displays a vital playfulness. But at its worst -- and there's far too much of that -- Alice continues Allen's endless, banal quest for the Big Answers. All, of course, at the mild-mannered elbow of Farrow.
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