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. Past Life
    Past Life is a family melodrama in the guise of a murder mystery. Strong performances and the shadow of the Holocaust lend the story poignancy.
  2. Kingsman: The Secret Service
    Kingsman delivers on its promise of escapist fun, with a touch that alternates between Galahad’s old-school polish and Eggsy’s roguish charm. Like the rookie who knows that you have to make a few mistakes while following the master, the movie shrugs off its missteps with a wink and a smile that makes them easy to forgive.
  3. Without a Trace
    Without a Trace provides little sustenance. It keeps serving up overprepared tidbits of torment when you'd prefer to get down to a main course. [04 Feb 1983, p.C4]
    • Washington Post
  4. Kevin Hart: What Now?
    What Now? is at its best when it focuses on his comic presence. Even if his jokes don’t all land, his train of thought is all you need for an entertaining performance that is funny, angry and sometimes just weird.
  5. Swing Shift
    Its elaborate and meticulously re-created period settings and moods prove far more interesting and diverting than the undernourished characterizations and love stories that flutter and sputter across the foregrounds. [19 Apr 1984, p.D6]
    • Washington Post
  6. This Boy's Life
    It never attains full dimension. It pursues the De Niro-DiCaprio war so singlemindedly, everything else is left high and dry.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Saturday Night
    Saturday Night is as entertaining as a movie can be that has no genuine point beyond nostalgia.
  8. Funny People
    Even the most forced, artificial episodes in Funny People ring oddly true, because George's life -- the obscene wealth, the loneliness, the fame -- is odd. Perhaps not since "Sunset Boulevard" have the wages and eccentricities of celebrity been depicted with such tough, almost perverse honesty.
  9. Absolute Beginners
    What's left here is not so much a movie as an assault so unpleasant, it leaves you wondering what you could have done to deserve it. [27 May 1986, p.B3]
    • Washington Post
  10. Glastonbury
    Clocking in at two hours-plus, Glastonbury at times gives viewers the impression that they're slogging through the three-day plunge into mud, music and madness themselves. But for all the posers with light sticks and piercings, there are moments of Dada-esque beauty, not to mention some great music.
  11. The Light Between Oceans
    Nominally, The Light Between Oceans refers to the beacon’s location at the geographic point where the Indian and Pacific meet, but it could just as easily be a hint at the salty tears it’s been so carefully manufactured to induce. Ladies and gentlemen, let your hankies unfurl.
  12. The Good Son: The Life of Ray "Boom Boom" Mancini
    The odd and disturbing thing about the film is just how comfortable [Mancini] — and we — have become putting moments on camera that, once upon a time, were meant to be shared between two people.
  13. Bad Hair
    Bad Hair is a good idea buried within a scattershot, ultimately mediocre movie.
  14. The Portrait of a Lady
    This picture is oddly un-charged, indistinct and even long-winded.
    • 60 Metascore
    • 75 Critic Score
    The Man Who Invented Christmas
    As the man who would inspire the character of Scrooge — first spied at night in a cemetery attending a threadbare burial for his business partner, while uttering, “Bah, humbug!” — Christopher Plummer is well chosen.
  16. The Emperor's New Clothes
    Charming but slight.
  17. Tab Hunter Confidential
    Hunter proves to be an engaging if low-key narrator, whose greatest asset is his refusal to take himself too seriously.
  18. Dragged Across Concrete
    Dragged Across Concrete may not be the kind of movie you’d expect to emerge from such inspiration, yet the impassioned energy of those composers is echoed in Zahler’s feverish yet stubbornly patient approach to storytelling.
  19. The Lost City
    The two actors have charisma to burn, finely tuned comic chops and the kind of smoldering physical star power that manages to look effortless and superhuman at the same time. But even gifts as prodigious as Bullock’s and Tatum’s can’t keep “The Lost City” afloat.
  20. The Girl Who Kicked the Hornet's Nest
    The final, deeply satisfying conclusion to the trilogy of Swedish thrillers based on Stieg Larsson's bestselling novels.
  21. The X Files
    The X-Files movie is really just a two-hour teaser for the series's sixth season. And little else. You will feel exactly like Mulder when he says, "How many times have we been right here before, Scully? So close to the truth?"
  22. Boys on the Side
    Roos and director Herbert Ross pave the long and grinding road to self-fulfillment with miles and miles of counterfeit poignancy.
  23. The Commune
    Dyrholm, who deservedly took the prize for best actress at last year’s Berlinale for her sensitive performance as Anna, movingly captures the struggles of a middle-aged career woman who revels in the new freedoms of the 1970s, while ultimately falling victim to them.
  24. I Want Someone to Eat Cheese With
    The entire film carries a whiff of "vanity project," with several of Garlin's comedic buddies reporting for duty.
  25. The Devil's Advocate
    The story (adapted from Andrew Neiderman's novel by Jonathan Lemkin and Tony Gilroy) is surprisingly well-handled, given its rather crazy premise.
  26. SPECTRE
    We don’t expect a James Bond film to be deep, but at least we should be dazzled by the seductive gloss of its surfaces. Aside from that stunning opening sequence, this installment feels overcompensating and dutiful.
  27. Femme Fatale
    A passionate film buff's valentine to the two directors he loves most: Alfred Hitchcock and Brian De Palma. The film that this worship has inspired is pretty amusing when the director apes Hitchcock, and pretty awful when he apes himself.
  28. Uncovered: The Whole Truth About the Iraq War
    Preaches most effectively to the converted.
  29. Tin Cup
    Tin Cup works for viewers of any handicap.
  30. Ghostbusters
    Sunny, slimy and profoundly silly, the new, lady-centric reboot of Ghostbusters immediately silences the backlash and bluster that’s preceded it.
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