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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    • 63 Metascore
    • 63 Critic Score
    Kiss of the Spider Woman
    J-Lo is essentially an elaborate distraction, which is just fine as the story goes, but not exactly a kinetic position for a star.
  2. The Disappearance of Eleanor Rigby: Him
    "Him” and “Her” make for a remarkably powerful film experiment, retaining the insights into relationships of “Them” while filling in many of its invisible storytelling fissures.
  3. Rocky Balboa
    It matters because this boxer taps into something deeper in our collective souls than the desire for entertainment. It's the hope that one day we're going to win big, too, after everyone's given up on us. It's as hokey as it's true.
  4. Pirates of the Caribbean: The Curse of the Black Pearl
    Not enough to keep this celluloid ship from sinking under the weight of its own stupidity.
  5. Jimmy's Hall
    In many ways, Jimmy’s Hall shows what the pursuit of happiness can look like, and why it’s worth a revolution to protect it.
    • 63 Metascore
    • 37 Critic Score
    The Congress
    The film is ambitious and heartfelt, with pressing concerns about the virtualization and fantasization of reality. But it’s a blunder, one interesting mostly for what it might have been.
  7. Biggie and Tupac
    Tends to speculation, conspiracy theories or, at best, circumstantial evidence.
    • 63 Metascore
    • 75 Critic Score
    Hannah
    The veteran English actress, 72, a onetime femme fatale who has matured into a peerless performer, gives a first-rate lesson in the art of acting, as a woman crumbling under duress after her husband is incarcerated. And yet the Belgian-set drama, by Italian director Andrea Pallaoro, could also be called self-indulgent, plodding and minimalist, in a big way.
  9. Eating
    Directed by the touchy-feely Henry Jaglom, this is film as purgative -- a hens' party from hell, gorged on its own self-importance and damned hard to swallow.
  10. Honeymoon in Vegas
    If Honeymoon in Vegas is funny -- and it is -- it doesn't exactly ring with structural perfection. You wouldn't go to see it again. But with wonderfully bizarre Nicolas Cage scrambling and screaming his way through the proceedings, "Honeymoon" never attempts anything greater than goofy.
  11. Green Zone
    The jittery, scattershot camerawork of Greengrass's longtime cinematographer, Barry Ackroyd, was used far more coherently in Kathryn Bigelow's Oscar-winning "The Hurt Locker," and the constant blurry close-ups of computer screens and street-level scrums lose their power with each successive cut.
  12. The Assassination of Richard Nixon
    It grinds on and on without mercy. You're in the cross hairs. There is no escape. Where is that Secret Service when you need it?
  13. King of California
    There's so little authenticity between them, it destroys the story's most crucial element: the love between father and daughter. And finding the gold becomes our only reason to watch.
  14. Damsel
    In Damsel, sibling filmmakers David and Nathan Zellner have created the perfect western for the #MeToo era, delightfully twisting and torquing the traditional woman-in-jeopardy narrative to create a clever, comical and uncannily relevant allegory.
  15. Harry Potter and the Chamber of Secrets
    Big, dull and empty -- nobody associated with this production appears to have thought hard about storytelling.
  16. Master Gardener
    I wanted to buy this story. I really did. But its protagonist floats through the action — filled with jealousy, lust and violence — as though he were anesthetized.
  17. Hardcore
    Schrader's second feature, Hardcore, is more confidently made than his first, Blue Collar, but it slips into a similar category: absorbing but unsatisfying. [10 Feb 1979, p.C1]
    • Washington Post
  18. Inside Moves
    Inside Moves is sneaky-funny and sneaky-affecting. It's an artfully old-fashioned morale booster celebrating comeback kids: apparent losers, outcasts and hard-luck cases who manage to pull themselves together, buck the odds and reaffirm their pride, dignity and masculinity. [18 Dec 1980, p.C1]
    • Washington Post
  19. Borg vs. McEnroe
    Sometimes a movie comes along that, devoid of a noisy publicity push or festival buzz, quietly ambushes the unsuspecting viewer with an absorbing, skillfully executed, meaningful and thoroughly entertaining experience. Ladies and gentlemen, Borg vs. McEnroe is just that kind of film.
    • 63 Metascore
    • 60 Critic Score
    The 11th Hour
    The picture almost beats its theme to death -- the first hour is enough -- but the imaginative designers dreaming up a cleaner future end this Cassandra cry on an upbeat note.
  21. The River Wild
    The film would be utterly banal without the novelty of the high-toned Streep in an action role.
  22. Octopussy
    One of the snazziest, wittiest productions in the history of the serial.
  23. Falling
    Viggo Mortensen makes a sensitive and assured directing debut with Falling, a meditation on aging, mortality and slow-drip loss that will resonate deeply with anyone going through the agonies it depicts.
  24. Unsane
    A straightforward, B-movie horror flick — “The Snake Pit” without the prestige — complete with intentional overdosing, electroshock torture and patients threatening each other with a sharpened spoons, when they’re not either screaming or catatonic. It also is very, very bad.
  25. Miss Pettigrew Lives for a Day
    The film's flaws are nothing compared with the pleasures it offers, chiefly in its unapologetic pursuit of old-fashioned sweetness and romance.
  26. Undertow
    It's just sort of trying.
  27. The Jungle Book
    The narrative shifts from romance to adventure the way Cheetah used to hop from foot to foot, but Sommers nevertheless delivers a bully family picture.
  28. Single White Female
    Schroeder's refusal to choose moral sides gives the psychological confrontation between the women the kind of weird, mutually accepted form of diseased codependency that Claus and Sunny von Bulow shared in his previous film, Reversal of Fortune. In Single White Female, Schroeder leaves the subtext unresolved, but manages to strike a very raw nerve.
  29. Spring Breakers
    How on earth is it possible for one film to be so tiresome? Spring Breakers isn’t deadly dull despite all the nudity and violence, but because of it.
  30. Fingernails
    It’s not the familiarity of this setup that irks, but its silliness.
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