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. Sugar Town
    May not rock the joint. But then, it isn't trying to.
  2. Happy, Texas
    Along with a lot of 10-gallon laughs, Happy, Texas rustles up plenty of goodwill for its larcenous, sexually ambiguous leading men.
  3. V for Vendetta
    A piece of pulp claptrap; it has no insights whatsoever into totalitarian psychology and always settles for the cheesiest kinds of demagoguery and harangue as its emblems of evil. They say they want a revolution? Then give us a revolution, one that's believable, frightening, heroic, coherent and not a teenagers' freaky power trip.
  4. The Spiderwick Chronicles
    For the uninitiated? Man, it's a bummer.
    • 62 Metascore
    • 75 Reviewed by
      Ty Burr
    Oh, Hi!
    A suspense comedy as breezy and noncommittal as its title, this sophomore feature from writer-director Sophie Brooks is a deceptively low-fi affair, but it keeps a cheeky premise going for longer than it has any right to.
  6. The Same River Twice
    If you can get past the "Big Chill" setup, there is a fine piece of moviemaking here.
  7. Simon & the Oaks
    Simon and the Oaks is not merely the story of two boys from opposite sides of the tracks. It's also a larger meditation on life's hardships and what endures: love, art and civilization.
  8. The Chronicles of Narnia: Prince Caspian
    As portrayed by William Moseley, Skandar Keynes, Georgie Henley and especially Anna Popplewell as Susan, the Pevensies still make for terrific tween protagonists, and Aslan, the majestic mythical lion voiced by Liam Neeson, is still a breathtaking manifestation of the Cat Upstairs.
  9. Nothing in Common
    Jackie Gleason and Tom Hanks team entertainingly in Nothing in Common, a sugar-coated variation on "Death of a Salesman." It proves an uncommonly funny drama, its painful truths brightened by Hanks' clowning glory and Gleason's glowering deadpan. [1 Aug 1986, p.25]
    • Washington Post
  10. Solo: A Star Wars Story
    Solo: A Star Wars Story gets the job done with little fuss, but also with precious little finesse. It might arguably succeed in teeing up the cinematic narrative that would change movies forever. But in both substance and execution, it bears but a whisper of the revolution to come.
  11. Iron Man 3
    A frantic, occasionally funny, finally enervating bricolage of special effects, explosive set pieces, sardonic one--liners and notional human emotions, this branch of the Marvel franchise tree feels brittle and over--extended enough to snap off entirely.
  12. Alien: Resurrection
    So drippy and slippery you'll feel that you're hiding in Kevin Costner's nasal passages during the filming of "Waterworld."
  13. Hollywoodland
    And though brilliantly acted, it's not. For some reason, the director and the writer (Paul Bernbaum) have chosen an exceedingly awkward path into the materials. They break the narrative into two strands and play them off each other in cheap and easy ways for insubstantial effect.
  14. Executive Decision
    Writers Jim and John Thomas and first-time director Stuart Baird have come up with a surprisingly deft variation on the airplane hijack genre, one that relies on subterfuge and suspense rather than explosives and body counts even though Steven Seagal is in it.
    • 62 Metascore
    • 50 Critic Score
    Call Jane
    The result is a film that’s engaging enough, but choppily paced and oddly inert. Beyond an audacious opening shot and some period-appropriate needle drops — Nancy Sinatra, Malvina Reynolds and Vanity Fare among them — Call Jane is also decidedly unstylish.
  16. Dogma
    For a while, the film is screamingly funny, but the further it goes, the more muddled the narrative becomes.
  17. Crocodile Dundee
    A double fish out of water structure -- first she's the fish, then he's the fish -- but the movie doesn't go anywhere with it, mostly because the characters are such nullities.
    • 62 Metascore
    • 63 Critic Score
    Set It Off
    The actresses work hard to give spark to some of the predictable scenes and dialogue in the screenplay by Kate Lanier and Takashi Bufford. Their fine work eclipses the fact that the film gives us very little information about most of them.
  19. Skin
    If you didn't know that it was based on a true story, Skin would be a little hard to believe.
  20. 42
    Harrison plays Rickey with a jutting jaw, squinting eye and hoarse bark straight out of the Irascible Old Coot playbook, his character constantly invoking God and the almighty dollar to justify what became known as Rickey’s “noble experiment.”
  21. Disturbia
    LaBeouf is appealing as the frustrated shut-in, and comic-relief cred goes to Aaron Yoo, who plays his neurotic buddy Ronnie. The ending, though, drags, and the film quickly shifts from a clever homage to "Rear Window" to a bad parody of "The Silence of the Lambs."
  22. The Good House
    The Good House has a lot of potential and features some attractive amenities, including dramatic conflict and a seasoned cast. But like a subpar property, it just doesn’t show well in a highly competitive market.
  23. Jackie Brown
    The film occasionally drags -- a money transfer scene set in a department store lasts longer than several geologic epochs -- but it's so funny and the plot twists are so sudden and violent it's great fun.
  24. Piglet's Big Movie
    Sure it's slight, but also as cute as the curly tail on its tender protagonist.
  25. Outside Providence
    Fitfully amusing but nothing remarkable
  26. Dual
    Dual takes awhile to get into gear, ending on an unresolved note. But it’s a funny and provocative struggle over the meaning of life.
  27. Greystoke: The Legend of Tarzan, Lord of the Apes
    Despite all the talent, form triumphs over substance. Director Hugh (Chariots of Fire) Hudson clutches, and climactic scenes miss their mark. Greystoke is curious entertainment, less satisfying than Planet of the Apes, which begs the same question: noble savage or naked ape? [30 Mar 1984, p.21]
    • Washington Post
  28. Godzilla
    Fortunately, the monsters are actually kind of a kick. And isn’t that why you go to see a movie like this anyway?
  29. Jesus Camp
    Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
  30. Wristcutters: A Love Story
    Seems to me, teenage suicide isn't that funny, and nothing in this movie changed my mind.
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