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. Unfaithful
    In the end, Unfaithful leaves you dispirited and grumpy: All that money spent, all that talent wasted, all that time gone forever, and for what? It's an ill movie that bloweth no man to good.
  2. Under Our Skin
    Under Our Skin has a major ax to grind, but if even half of what it alleges is true, it's more deeply terrifying than any slasher film you'll ever see.
  3. Mr. Nobody
    Van Dormael has crafted a saga that, even at two-plus hours, is endlessly, enormously watchable.
  4. Kids
    Except for pedophiles, it's hard to imagine who'll be drawn to this irresponsible Little Bo Peep show.
  5. Monsters
    No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
  6. The Creator
    Overloaded with incidents, effects and explosions, “The Creator” fails to develop the personalities and relationships that would give its central characters an affecting humanity. The movie’s attempt to touch the heart comes off as, well, artificial.
    • 63 Metascore
    • 63 Critic Score
    Backbeat
    What comes through in "Backbeat," along with the amphetamine-fueled adrenalin of Hamburg, is confusion, bruised feelings and the dawning understanding that life isn't just fun and games -- and neither is rock 'n' roll.
  8. Good Kill
    Admittedly, Niccol succumbs to the temptation to make mini-billboards out of his dialogue, in which arguments follow neat “on the one hand” trajectories. But for the most part, Good Kill asks pertinent, enduring questions, not by way of polemic, but through the study of a character.
  9. Southern Comfort
    Southern Comfort sets up a potentially compelling switch on The Most Dangerous Game, but Hill's tactical maneuvers prove too diffuse and uncoordinated to carry out a successful variation. [16 Oct 1981, p.B1]
    • Washington Post
  10. The Parent Trap
    There is still a self-consciousness and a forced quality to much of the humor that this TPT redux just can't shake.
  11. Babies
    A mesmerizing and weirdly manipulative experience.
  12. The Suspect
    Director Won Sin-yeon skillfully emulates the you-are-there-but-where-the-heck-is-that? style of the “Bourne” movies.
  13. Hard Target
    The only thing wrong with John Woo's American debut, Hard Target, is that it's too American and not enough Woo.
  14. Flowers
    The movie, for all its uneventfulness, is intensely memorable.
  15. Romancing the Stone
    After a fairly promising getaway, Romancing the Stone gradually chases its tail into enough melodramatic dead ends to deteriorate into an expendable runaround, all too easy to shrug off as a miscalculated clone of Raiders of the Lost Ark.
  16. Out of Time
    Until that sugar coating at the end, Out of Time is clever, believable and gripping, and seems to be headed to a wondrous, bad place as it carefully modulates classic '40s themes.
  17. He Loves Me... He Loves Me Not
    Wickedly clever.
  18. Secretary
    In a movie as unrewarding as this, there's really only one burning question: When does the spanking begin?
  19. Drumline
    Shakes, rattles and rolls the house, building to a climax that makes you almost forget you're in a movie theater and not a football stadium at halftime.
  20. The Patriot
    Mostly, the movie is riveting, well-done fare -- the stuff of Hollywood epic adventure.
  21. A Perfect Getaway
    While A Perfect Getaway, like "The Sixth Sense," recaps itself, to indicate to the audience what they may have missed (and when), there seems to be plot holes large enough that one could paddle through them in an outrigger canoe.
  22. Love Crime
    The movie is called Love Crime. But its hidden message has more to do with business than with passion. Hell hath no fury like a woman scorned. Especially one in a power suit, who knows how to work a room.
  23. A Bridge Too Far
    One may feel limitations on the dramatic side, but Bridge is an unqualified pictorial achievement.
  24. Walk Hard: The Dewey Cox Story
    The best part of Walk Hard, oddl enough, is the music. I might not care to see Walk Hard" a second time, but I can't wait to hear it again.
  25. Planet B-Boy
    For all the energy and personality of its subjects, Planet B-Boy tends to drag, especially toward the competition finals.
  26. The Guilty
    For its eventual lurid machinations and hyped-up emotionalism, the film winds up being a handsomely efficient one-man show. Like the man Gyllenhaal so convincingly embodies, it gets the job done, even if it inevitably goes over the top.
  27. Don Juan DeMarco
    [Leven] keeps the film's tone light and ingratiating. And, though the material is thin, the actors do seem to be getting a kick out of playing off each other.
  28. My Cousin Rachel
    What’s missing from this production is the darkness — the perversity, even — that informs du Maurier’s work, and that would elevate an attractively illustrated story into aesthetically and psychologically vivid cinema.
  29. The Lincoln Lawyer
    A pleasantly seedy crime thriller.
  30. Young & Beautiful
    Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
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