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. Romeo + Juliet
    The movie, a frenetic, explosive experience full of car crashes and gun battles, is original and exhilarating. But more often, it's so overwhelming, it'll make you want to watch "Die Hard With a Vengeance" for peace and quiet.
  2. Last Exit to Brooklyn
    Edel gives us the grungy details of the atrocities without providing a context to give them relevance. In the end, the film's ugliness becomes ugliness for its own sake.
  3. The Five-Year Engagement
    I liked The Five-Year Engagement, and then I didn't, and then I did.
    • 62 Metascore
    • 50 Reviewed by
      Hau Chu
    Free Guy
    It’s hard not to imagine that there could have a better version of this movie’s premise: one that upped the cultural satire, while still having fun tossing low-key, cheeky references at the audience. In the end though, disappointingly, Free Guy only plays itself.
  5. About Last Night
    About Last Night may be about Daniel and Debbie, but it’s Hart and Hall who make it worth watching. They take palatable but not exceptional cinematic hay and turn it into comic gold.
    • 62 Metascore
    • 30 Critic Score
    Empire of the Sun
    Behind the trademark fancy package is a troubling sensibility, too. Spielberg seems unable to come to terms with anything real.
  7. Micmacs
    Micmacs brings an infectious note of caprice to the old-fashioned caper film.
  8. Fear of a Black Hat
    Patchy, underbudgeted pop-music satire a la This is Spinal Tap but lacking its professional assurance. [30 Jun 1994, p.M28]
    • Washington Post
  9. Fright Night
    Fright Night is really "Fright Lite," a film promising more than it delivers, and even that delivery is so late in the game that you may want to arrive fashionably late and skip what passes for plot development and concentrate on Richard Edlund's special effects. [05 Aug 1985, p.B3]
    • Washington Post
  10. Loving Highsmith
    Ultimately, “Loving Highsmith” provides a valuable addition to the larger record of the author’s enigmatic life, rather than a comprehensive chronicle itself. Which might be altogether fitting for a woman who always seemed to prefer to remain just out of reach.
  11. Plane
    Plane is a shot of adrenaline and fast-paced, brain-free fun.
  12. Lynch/Oz
    Lynch/Oz possesses undeniable value, if only to remind viewers that cinema is worth dissecting, thinking about, arguing over, mulling around.
  13. Labyrinth of Lies
    Labyrinth of Lies is an eye-opening story about the importance of seeking the truth — even when it’s complicated, ugly and buried beneath years of secrecy and deceit.
    • 62 Metascore
    • 80 Critic Score
    A Man of No Importance
    Albert Finney is a beautifully mannered, lilting charm; he's more than ably supported by Dubliners Michael Gambon, Brenda Fricker, Tara Fitzgerald and others. [27 Jan 1995]
    • Washington Post
  15. Deli Man
    Like a fat slab of pastrami, Deli Man is the cinematic equivalent of comfort food: warm, generous and made with love.
  16. The Help
    As affectionately as Taylor has brought The Help to the screen, and as gratifying as it is to watch Davis and Spencer bring Aibileen and Minny to palpable, fully rounded life, their narrative, like "The Blind Side" a few years ago, is structured largely around their white female benefactor.
  17. Back to the Beach
    It's deeply vapid, with the emotional consistency of styling mousse.
  18. Girls Rock!
    We may not get to their innermost feelings, which would have taken this documentary to a deeper, maybe darker level, but the movie's purpose is celebratory. As such, it's a satisfying experience.
  19. Loggerheads
    If Loggerheads sometimes feels too forced, it features some unforgettable performances, especially by Hunt, an accomplished comedienne who makes an impressive debut as a dramatic lead here.
  20. Annabelle: Creation
    Horror works — or it doesn’t — in the flickering, moving images of the screen, not the page. Sandberg knows that. His artistry, for that’s what it is, is like that of the dollmaker Sam Mullins: to take inert material and create a living, breathing thing.
  21. Ira & Abby
    It's all too zany and madcap and Woody Allen-redux to be remotely credible, but Ira & Abby turns out to be witty and winning, in large part because of its cast.
  22. Stuck on You
    Viewers anticipating side-splitting guffaws will be disappointed: Stuck on You is a strangely lackluster, flaccid string of fitfully humorous episodes.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Daddio
    Daddio may stay too long at the fare, but its maker is hardly a hack.
  24. Dark Star: HR Giger's World
    Although he comes across as a sort of elfin crypt-keeper in this intriguing portrait by documentarian Belinda Sallin, Giger was also, quite literally, close to death.
  25. Dragnet
    There's enjoyable chemistry between the two, but not the sort that sequels are made on. Aykroyd's straight man gets most of the laughs with his hilarious variation on the late Jack Webb's hard-bitten dialogue, with Hanks playing less often off the priggish, ever-positive Friday.
  26. Fierce Creatures
    You leave Creatures with the unsettling sensation of being highly tickled yet greatly dissatisfied.
  27. Bug
    We find ourselves in the fascinating no man's land between horror and comedy -- right where this movie wants us to be.
  28. The Cursed
    The Cursed is stylish and scary enough for what it is. That’s an old-fashioned creature feature, effective enough to give you a mild case of the heebie-jeebies but nothing chronic.
  29. Ramen Shop
    For all of its foodie appeal, however, Ramen Shop is a wispily sentimental enterprise, full of perfunctory transitions, maudlin plot twists and awkward time shifts between past and present.
  30. The King
    In this case, director David Michôd — working from a script he co-wrote with actor Joel Edgerton — doesn’t make the material distinctive or provocative enough to merit a second, far more dramatically inert go-round.
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