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. Wildlife
    Mulligan’s eccentric energy is her greatest strength, but it makes for a slightly wobbly — if just this side of wonderful — film.
  2. Finding Your Feet
    Director Richard Loncraine (“5 Flights Up”) wisely gets out of the way, for the most part, letting his cast breathe life into the limp cliches that have been woven by screenwriters Meg Leonard and Nick Moorcroft.
  3. The Miseducation of Cameron Post
    The film is at its best when evoking the painful labor of adolescent self-discovery, a process — as rendered here — that is not unlike a butterfly struggling to emerge from a chrysalis.
  4. Searching
    Like most mysteries, this one relies heavily on coincidental discoveries, even if they arrive via Gmail or FaceTime, rather than more traditional means. But the plot’s contrivances are less problematic than the movie’s insistence on maintaining its artifice even after it becomes a hindrance.
  5. Burden
    Overlong and overstuffed with Southern rock and blues numbers, Burden is not exemplary filmmaking. But for viewers who can endure another spin through white-supremacist malice and ignorance, Hedlund and Riseborough make it a compelling ride.
  6. Moving
    All in all, the picture goes down fairly easily, and by any estimate it's an improvement over other Pryor nonconcert films such as The Toy or even Brewster's Millions.
  7. An Innocent Man
    An Innocent Man isn't an inspired piece of filmmaking, but it is tightly focused and efficient, and on its own modest terms it is effective.
  8. Lives Well Lived
    As a form of life-coaching, this documentary is, in fact, kind of a dud.
  9. Death on the Nile
    The crime’s solution is fine and dandy, but it’s Poirot himself who most fascinates. This isn’t your grandmother’s Agatha Christie, in other words. It belongs to Branagh, heart and soul.
    • 65 Metascore
    • 63 Critic Score
    Beauty and the Dogs
    By the end, the outcome is still unclear, leaving viewers hanging. Such ambiguity might work for pure fiction, but given that there’s a real-life incident behind the story, the lack of closure is unsatisfying.
  11. The Secret of NIMH
    Sadly, The Secret of NIMH is beautiful but unbalanced: The animators gambled when they should have gamboled. [09 July 1982, p.13]
    • Washington Post
  12. Earth Girls Are Easy
    Earth Girls Are Easy, a frisky extraterrestrial romance starring Geena Davis, is the movie equivalent of cheap champagne -- even though it's lousy, it still gives you tickles up the nose. Even at its most rambunctious, the picture just never seems to get going, and if the performers weren't so consistently charming you'd be tempted to pack it in early.
  13. White Fang
    Though slow and overlong, the movie is at least scenic family fare. This easily understood yarn should appeal primarily to boys who still think girls are yucky.
  14. Yardie
    It’s all kiss-kiss, bang-bang and backstabbing, with a twist that, while effective, leads to a denouement of questionable — and not entirely satisfying — moral reckoning. In some ways, Yardie plays out like a film noir, but with a strangely sweet ending, and without that genre’s deliciously bitter aftertaste.
  15. Tin Men
    The greater charm of Tin Men is in its affectionate portrayal of small-time hucksters who gloat over classic scams (like cutting seven inches out of the middle of a yardstick so the square footage will be higher). In its own way, the film is a bittersweet drama, a sort of Glengarry Glen Ross without the vitriol.
  16. Christopher Robin
    The film is pretty conventional Disney fare: silly, slapsticky, all-too-neatly wrapped up and punctuated by a surfeit of poignant moments.
  17. The Seagull
    There is also something over-intellectualized and bloodless about this version.
  18. Conan the Destroyer
    Proves a welcome improvement on the original Conan the Barbarian, finding a tone of lighthearted preposterousness more suitable to the absurd heroic dimensions of the pretext. [03 July 1984, p.D9]
    • Washington Post
  19. Boundaries
    Plummer is particularly good, delivering every line of dialogue as if it’s improvised, and with an astringent snort that only partially hides the fact that Jack really does care about people. Farmiga, for her part, never strays into histrionics, although she comes close after allowing herself to be seduced by her caddish ex.
  20. Wild Nights with Emily
    “Wild Nights” largely sidesteps the worst tropes of biographical drama, but when it falls, it falls hard.
  21. Internal Affairs
    Self-respecting humans with strange kicks, such as family values or an aversion to nasty sex and violence, already know not to see this movie, but those with strange axes to grind (like, you hate Richard Gere, for instance), or too much time, or demented senses of humor, and you know who you are, may just have a fun time of this.
  22. Death Becomes Her
    While Death is fun, there's something cool and removed about it, which makes it feel ultimately like an exercise in special effects. It's more clever than affecting, its narrative tactics more like entertaining detours than a mounting drama. That shortcoming is redeemed by the movie's grim relentlessness.
    • 39 Metascore
    • 63 Critic Score
    Krystal
    Secrets, lies and vast array of medical emergencies beset the game cast (which includes Kathy Bates and Felicity Huffman, Macy’s real-life wife) before the story goes fully off the rails.
  24. Sgt. Stubby: An American Hero
    Given its pedigree, Sgt. Stubby takes fewer liberties than some fact-based war movies. Bolstered by an irresistible protagonist, the tear-jerking script by Lanni and Mike Stokey makes up for shortcomings in animation.
  25. Dog Days
    As a cinematic mutt, it possesses a certain scruffy charm, as long as you’re in the mood to forgive its lapses.
  26. A Simple Favor
    The most surprising performance is Lively’s. As the cheeky Emily, the star of such recent thrillers as “All I See Is You” and “The Shallows” finally gets the chance to be funny. She proves quite adept at it
  27. The House with a Clock in Its Walls
    “House” sometimes loses track of convoluted plot points and skimps on exteriors. But it does a fine job of capturing the childlike wonderment that suffused those earlier films.
  28. Johnny English Strikes Again
    Here, however, Atkinson may even outdo Cruise, with the comedian hurling his 63-year-old body into the service of comedy.
  29. Night School
    The movie gives some depth to its misfits, and ultimately sends the valuable message that nobody should be ashamed of who they are.
  30. Child's Play
    Following up his auspicious debut with Fright Night, director Tom Holland keeps things moving without rushing them.
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