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. New Jack City
    The "Godfather" films transcended their mobster genre; New Jack City doesn't, but it's a great genre film, edgy, vibrant and full of urgent color.
  2. The Jerk
    For my taste a little bit of Steve Martin goes a long way. Moreover, a rickety vehicle like The Jerk is apt to wear out as aspiring comic star's welcome in one swift stroke.
  3. The Motel Life
    For all its melancholy and grey, snowy landscape, The Motel Life never feels totally hopeless, thanks in large part to colorful ancillary characters (not to mention occasional trips into Frank’s mind).
  4. Heart Eyes
    As the tropes pile up faster than tears in a Nicholas Sparks novel, so do the bodies, dispatched in increasingly inventive and grisly ways.
  5. The Yes Men Are Revolting
    Servin and Vamos clearly have a healthy sense of the absurd, which they use, like good satirists, to highlight hypocrisy, greed and corruption.
  6. Babylon
    Like so many recent films — “Once Upon a Time in Hollywood,” “Belfast,” “The Fabelmans,” “Empire of Light” — Babylon wants to pay tribute to the medium that brings us all together in the dark. But it also doesn’t miss an opportunity to alienate the audience at every turn.
  7. Cool It
    Some of it sounds, quite frankly, nuts. And a few of Lomborg's enemies have said as much. But throwing tons of money at the problem with little result? That also sounds kind of crazy.
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    Suncoast
    As filmmaking, the movie is straightforward enough — unobtrusively shot, sensitively scored, lacking only a sense of urgency in its pacing. As a memory play and a launchpad for both a writer-director and the young actress playing her, it’s a very good start. And as your latest reminder that Laura Linney can do just about anything, it’s a bracing kick in the pants.
  9. Rush Hour
    A misbegotten marriage of sweet and sour.
  10. Red Heat
    Red Heat is poorly, or even indifferently, made. It's a joyless exercise, and too much angry resignation seeps in for it to be very funny or very entertaining.
  11. Oculus
    Oculus director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since “The Conjuring.”
  12. The Kings of Summer
    Without the benefit of deeper psychological spadework, The Kings of Summer stays resolutely on the surface, resembling more of an extended sitcom than a memorable movie on a par with the films it references.
  13. To Be or Not to Be
    The film only succeeds in establishing a remarkable new low in remakes.
  14. Broken English
    If Broken English occasionally falls prey to a bit too much self-conscious lethargy, it's still a welcome chance to see Posey at her flighty, edgy best.
  15. The American Dream and Other Fairy Tales
    The filmmakers’ focus-shifting approach to telling this story is smart and effective. But its true power lies in the history lesson it eventually segues to, landing with a gut punch.
  16. Romper Stomper
    Director Geoffrey Wright, who also wrote the script, is thoroughly ambivalent in his storytelling. It's in his deft filmmaking that Wright slips: By whipping up a visceral ride through a tunnel of hate, and by making several characters likable, he creates a parable of race and rage that offers no moral position.
  17. Matchstick Men
    Let it swindle you; it's part of the fun. In fact, it's all of the fun.
  18. White Oleander
    The worst mistake is the screenplay, which not only cuts everything into superficial pieces but fails to make authentic moments of anything. In the end, White Oleander isn't an adaptation of a novel. It's a flashy, star-splashed reduction.
  19. I'll Sing for You
    It never really feels like we've gotten to know the man himself, leaving the figure at the heart of I'll Sing for You a cipher.
  20. The To Do List
    The one thing The To Do List lacks is emotion. Carey is wise not to let the movie get bogged down by too much drama, but Brandy’s scientific approach to losing her virginity makes her seem almost robotic. That being said, it’s an amusing twist that the most emotional characters are Cameron and Brandy’s father.
  21. Tightrope
    There isn't much conceptual or stylistic integrity in Tightrope. It's calculated to function at the most expedient and spurious levels of nightmarish artifice. [17 Aug 1984, p.D1]
    • Washington Post
  22. Dust to Glory
    It's a fascinating film, but after a while, the digital photography wears out its gritty welcome.
  23. Candyman
    Madsen is a much better actress than is usually found in such a role. However, if you don't like splashes of blood or bees swarming out of bodies, you may want to think twice about this one.
  24. Hero
    If a hero is one who perseveres and never gives up, this is one Hero that should have quit when it was ahead.
  25. Generation Iron
    “Iron” opens a window to an exclusive club and gives valuable insight into a small, dedicated and proudly unique community.
  26. Eye of the Needle
    The tussle between David and The Needle seems to release a Pandora's Box of outrageous scenes. [24 July 1981, p.D8]
    • Washington Post
  27. The Last Rodeo
    The Last Rodeo may not be bodacious, but it’s a satisfying ride.
  28. The Sense of an Ending
    The inherent superiority of the written word notwithstanding, Batra has done a credible and even commendable job of translating Barnes’s intricate prose to the screen, opening up some of its corners, burrowing into its time shifts and, most gratifyingly, elaborating on a few otherwise marginal characters.
  29. Cat People
    All the modest virtues of the original film have been discarded in favor of lurid excess. What was once unpretentious, suggestive, implicit and erotically tragic has become bombastic, literal-minded, explicit and erotically stupefying.
  30. Bicycling With Molière
    This may be a buddy comedy on its surface, but Bicycling With Molière also gives some insight into the way art imitates life, and also the way life informs art.
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