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. Laggies
    Laggies possesses irrepressible cheer, optimism and an innate sense of ease that often go missing in angstier productions loosely organized under “Aging, fear of.” Unlike its sometimes annoyingly wishy-washy heroine, this is a movie that knows just where it’s going, and finds joy in the journey.
  2. The Rip
    If you go for this kind of fare, you’ll have a good time. If you don’t, you’ll probably find it off-putting.
  3. True Lies
    Deceptively labeled a domestic epic by writer-director James Cameron, the $100 million movie is, in fact, a weird hybrid of action juggernaut, buddy cop caper and reactionary soft-core pornography.
  4. SubUrbia
    Linklater, who introduced the blithe, but bemused slacker subculture to America in 1991, gets bogged down not only in Bogosian's for-stage structure, but especially his middle-aged perspective.
  5. Free Fire
    With his cultivated air of nonchalance, the trivialized, consequence-free violence and reverse-engineering of a plot threaded with convenient twists and unexpected arrivals, Wheatley seems intent upon lowering the stakes at every opportunity.
  6. In the Earth
    You’ve got to give Wheatley credit: In the Earth is like nothing else you’ve seen — although some might wish it were a little less, er, original.
  7. Beau Is Afraid
    The sad truth is that, for all his ambition, cinematic prowess and hyper-confessional candor, Aster doesn’t stick the landing. Instead, he’s made a movie about unresolved ambivalence that itself goes confoundingly unresolved.
  8. A Haunting in Venice
    A Haunting in Venice isn’t exactly a barrel of laughs. But that’s no doubt as intended by Branagh, who seems intent on rescuing Poirot from the reassuring, too-cute world of “cozy” mysteries and grounding him in the real-life loss and emotional dislocation of the postwar eras from which he sprang.
  9. Megamind
    Megamind has presentation in spades. But it also has something even rarer than that. It's got heart.
  10. The Signal
    In a movie about perception, misperception and the ramifications of misunderstanding, it's a bit ironic that the directors can't get out of one another's way.
    • 63 Metascore
    • 50 Critic Score
    Burn After Reading
    Oh, the high-octane cast works hard. But there's nothing to suggest anybody off camera tried that hard, which is fatal to a Coen outing.
  12. Invincible
    There's too much slow-mo and too many music cues, but there's a low-key buzz to Wahlberg's scenes with Greg Kinnear.
  13. The Matrix Resurrections
    Wachowski seems to be at war with her audience, rewarding them with deep-cut callbacks one moment only to roll her eyes at the entire enterprise the next.
  14. Peter von Kant
    There are pleasures to be had here, though it wouldn’t be accurate to call “Peter” fun, by any stretch of the imagination. At times this admiring but uninspired making-of movie feels like the cinematic equivalent of the Karl/Marlene character: fawning to the point of sycophancy.
  15. Shutter Island
    If Shutter Island, a gothic thriller starring Leonardo DiCaprio and Mark Ruffalo, were put to a free association test, the word most likely to come to mind would certainly be "weird."
  16. Boiler Room
    As a piece of journalism then, Boiler Room is first class.
  17. Amigo
    The argument in Amigo is so heavy-handed - and its execution so crude - that by the time the movie winds its way to a predictable but uninvolving conclusion, nobody will be listening anymore.
  18. Love at First Fight
    The actors make the movie’s memorable characters all the more indelible, even when Love at First Fight loses its sense of originality.
  19. Night Shift
    Michael Keaton's the live wire and Henry Winkler's the deadbeat in director Ron Howard's new hit, Night Shift, a whorifying undertaking that solicits its laughs by pairing the quick and the dead.
    • 63 Metascore
    • 75 Critic Score
    The Strongest Man in the World
    These delightful movies provide just the right blend of humor and adventure and lack of big-bang special effects to make viewing an enjoyable experience. They rank among the best of Disney's live-action comedies. [06 Aug 2000, p.Y05]
    • Washington Post
  21. The Man from Snowy River
    A rousing and scenically breathtaking romance about ranch life in the 1880s, the film should recommend itself strongly to families. [24 Dec 1982, p.14]
    • Washington Post
  22. Dreamscape
    The possibilities are intriguing, but more might have been realized. [17 Aug 1984, p.23]
    • Washington Post
  23. Bubble
    Soderbergh and screenwriter Coleman Hough aren't interested in creating a coy whodunit so much as evoking the deeper, less romantic mysteries of people -- and it's riveting.
  24. ATL
    Notwithstanding the melodrama and the often ham-handed directing, ATL somehow works. A large part of this is thanks to Robinson's skill in evoking the hickory-smoked flavor of the ATL.
    • 63 Metascore
    • 60 Critic Score
    The Lost Boys
    The film loses courage (or imagination) and hews to the Spielberg school of climactic denouement, so that teen farce and special effects take over. By the time the thing has played out, that subtle scare/laugh mix is a thing of the past and you feel as though you just walked out of "Breaking Away" or Goonies. Ah well.
  26. Youth in Revolt
    A movie that feels written rather than lived; from "The Catcher in the Rye" to "Rushmore," it's a story we've seen in better versions before.
    • 62 Metascore
    • 90 Critic Score
    Tequila Sunrise
    But the greater credit goes to writer/director Towne. In this adult adventure with a twist, he has mixed a good one. [2 Dec 1988, p.n41]
    • Washington Post
  28. Farmageddon
    Kristin Canty's surprisingly engrossing documentary, a worthy addition to the growing annals of movies and books advocating for sustainable farming methods.
  29. Hotel Mumbai
    The callousness with which the terrorists operate is palpable and conveyed with a degree of verisimilitude that borders on sadism. Hotel Mumbai is a clockwork thriller, but man, is it hard to watch.
  30. Severance
    None of the killings has any suspense, and the capital I irony -- that these people make their living selling death in small mechanical packages and munitions to the world and are now being hunted down by the same devices -- never begins to produce any results. Put it on a level with a mid-series "Halloween."
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