Washington Post's Scores

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:
11478 movie reviews
  1. Hello I Must Be Going isn't heavy lifting, to be sure. But it's still worthy of a little end zone dance.
  2. Touched With Fire is by no means a perfect film. The production values and melodrama sometimes seem better suited for a small-screen movie. But the drama deserves points for its measured, realistic view of mental illness.
  3. An action thriller that adamantly refuses to deliver action or thrills, instead engaging in a brand of arty, self-conscious formalism rarely seen outside repertory theaters or cinema-studies classrooms.
  4. Ultimately, this is a universal story about how these wild mothers, like their human counterparts, sacrifice again and again - all to make sure their children are happy, healthy and well fed.
  5. A sometimes inspired but sputtering parody of the fashion industry. It's desperate to please, yet never unzips the fancy pants of haute couture.
  6. Hoffman introduces a memorable sensuality to the movie.
  7. Nicholson looks severly overmatched against Lange but the basic problem is that the filmmakers miss the mutuality of the obsession envisioned by Cain -- an attraction that enslaves Frank and Cora, inspiring murder and betrayal in the wake of adulterous passion. [20 March 1981, p.C1]
    • Washington Post
  8. It's a remarkably entertaining movie, thanks in part to a first-rate cast and a director who knows you can't make a point without calling everyone to attention.
  9. When Words on Bathroom Walls is at its sunniest and most blithe, the moral of the story feels a little more like a punchline than is appropriate.
  10. The film's real problem is that it can't seem to make up its mind about whether it wants to frighten us or make us laugh.
  11. Dragon imparts these pearls of wisdom with verve and delight, in a telling that is as visually impressive as it is emotionally stirring.
  12. The Good Shepherd is serious adult moviemaking, a truly surprising effort from De Niro, a man deeply interested in the art, craft and psychology of espionage. He seems to believe that we'd better be interested in it, because it's interested in us.
    • 61 Metascore
    • 30 Critic Score
    Surprisingly mawkish teen film.
  13. Efficient, precise, carefully calibrated and terrifically entertaining.
  14. A crashing letdown.
  15. In the end, we're treated to an overture of possibilities rather than a satisfying film.
  16. As the minutes tick down, the sentimentality picks up. But chalk that up to the enigmatic creatures, which grab hold of human hearts no matter one's politics or affiliations. Whales just have a way of bringing people together.
  17. For audiences interested in an earnest, inspirational story, full of timeless messages and beautiful animation, this is a lovely reminder of how to live life with purpose and joy.
  18. Ambitious, affecting, unwieldy and haunting, it's an eccentric, densely atmospheric, morally hyper-aware masterpiece that refuses to follow the strictures of conventional cinematic structure, instead leading the audience on a circuitous journey down the myriad rabbit holes that comprise modern-day Manhattan.
  19. Though there’s no reinvention of the genre here, Louder’s mesmerizing mouse proves more than a match for the assembled tomcats — all exuding machismo — with whom she must deal.
  20. Under the direction of George Tillman Jr., these two young performers exercise remarkable restraint, never milking the material for unearned tears.
  21. Reinhold, as a little boy in a big man's body, looks and acts more like a sheep in shell shock. Savage, however, is an able comic when he takes on his father's yuppie persona, demanding Grey Poupon at the school cafeteria and downing martinis after a hard day in the principal's office.
  22. Part cop caper, part coo-fest, it is a feel-good movie, a jolly little button-pusher about a street-smart cop who brings law and order to a classroom full of unruly but adorable youngsters.
  23. Stallone is feral this film, physically powerful; he's muddy and bloody, but he's still pretty even in a tarpaulin. He's the wild child coming home. First Blood is good to the last drop, if you like that sort of thing. [22 Oct 1982, p.17]
    • Washington Post
  24. Full of visual dazzle, engaging characters and a reasonably sprightly narrative.
  25. The story of The Boxtrolls, in lesser hands, might have turned out only so-so. Under Laika’s loving, labor-intensive touch, it takes on a kind of magic.
  26. As a rule, the filmmakers manufacture fake climaxes every 10 or 15 minutes, poop out and lapse into forgetfulness, just as if they were structuring the material for television. Norma Rae seems to reflect the confusion of veteran filmmakers so eager to please that they cease to think straight.
  27. All the world is a farce, Ansari seems to say, while suggesting that it can still be saved. But like a breezy sitcom episode, his big-screen creation doesn’t feel the need to offer solutions.
  28. If there’s a quibble with the film, it’s that it glosses over what it’s like to grow up in the glare of worldwide celebrity.
  29. An animated feature (showing in 3-D in select theaters), has a couple of clever tricks that make it worth wearing those dumb, uncomfortable glasses. But this would be as delightful and attractive a production without the gimcrackery.

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