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. A Walk on the Moon
    It's just a simple, actorly drama about big, gaping emotional needs and the consequences a woman can face -- particularly during the 1960s -- for simply owning up to them.
  2. Brokedown Palace
    This is not a fantastic movie. But there's more to it than just an MTV-slickified "Midnight Express" starring two young, photogenic stars.
  3. The Wood
    Despite the unforced humor and honesty in the performances of its young and talented cast, The Wood spends too much time wallowing in arrested adolescence to make you feel you've traveled anywhere.
  4. Cherish
    The movie's about its own playfulness. But that playfulness, all too often, feels labored.
  5. The Thin Blue Line
    Other documentarians before Morris have smudged the distinction between fact and fiction. But here the smudging seems almost irresponsible, and you may feel yourself wanting to fight against the conclusions that Morris comes to, not because they're incorrect, but because there's the chance they were come to unfairly. [2 Sept 1988]
  6. Amistad
    Although the movie is moving and even funny in many places, it's also overextended. And composer John Williams's syrupy score practically oozes from your ears on the drive home.
  7. The Newton Boys
    There are no dramatic peaks and valleys in this story line, just a uniform, dramatic flatness.
  8. Life as a House
    It's a pleasant movie, written with care for the characters. But as the film's title suggests, scriptwriter Mark Andrus has made too obvious and clunky a metaphor of George's house.
  9. Femme Fatale
    Mainly, Femme Fatale is really about De Palma's three favorite things: women, movies and women. And you can either share his guilty pleasures in all their living, breathing, power-edited, overextended glory, or you can get on with your life.
  10. 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?"
  11. sex, lies, and videotape
    The writer in Soderbergh proves the ultimate weak link. In sex, lies' last third, he seems seized with a compulsion to make sense of it all, bring everything to bear, give everyone their moral comeuppance, their screenplay payoff.
  12. Edward Scissorhands
    Tim Burton remains the Wizard of Odd with this eye-filling if problematic confection.
  13. The Prince of Egypt
    As a rule, the drawn and computer-animated imagery is top notch and seamlessly integrated, but the central characters' tawny complexions and the often chiaroscuro lighting sometimes obscure all but the whites of their eyes and their pearl-perfect teeth.
  14. There's Something About Mary
    Fitfully amusing and ultimately kind of heartwarming in a twisted sort of way
  15. What Dreams May Come
    There are a number of surprises in the idiosyncratic film, and one of its pleasures is the oblique and unchronological way in which Ward peels away the layers of the story, flashing backward and forward in time and jumping between Earth and the Beyond, separating his scenes with blindingly blank, white-out screens.
  16. Intact
    Consistently absorbing -- thanks in large part to strong performances from the actors -- but not particularly rewarding.
  17. Chopper
    It's a great style, it's a fabulous performance, but it never quite finds what it's searching for.
  18. Hannibal
    It is not bad on its own terms, and it is certainly engrossing, but it comes nowhere near the power and sordid glory of the original.
  19. Celebrity
    It is this sense of real life blurring with make-believe that Allen's film is really playing with, like a kitten toying with a scared mouse. Back and forth he bats the subject, moving between reality, illusion and the imitation of reality with a deft touch that may bruise but never kills.
  20. Summer of Sam
    Hobbled by a multiplicity of narrative lines and superfluous, often stereotypical characters, the movie suffers from a lack of both focus and passion.
  21. He Got Game
    He got too much movie. That's the scoring total on Spike Lee's He Got Game, which ultimately must be judged a mild disappointment.
  22. Knafayim Shvurot
    Well-made, if rather predictable, new-age melodrama.
  23. Miracle
    Miracle works best when the players are on the ice, shot in a faux-documentary style that uses the now-customary handheld cameras, fast pans and machine-gun edits.
  24. Ghost
    Three losers of late, the actors succeed quite nicely in unifying the movie's multiple personalities, its ricocheting screenplay.
    • 21 Metascore
    • 60 Critic Score
    Cabin Boy
    Contains about enough laugh-out-loud sight gags and non sequiturs to justify what it demands of a viewer's time and money.
  26. Starship Troopers
    Nothing like the sight of thousands of scuttling, hideous, practically indestructible insects crawling up the sides of a fortress, hellbent on destroying the human race. As they keep coming and coming, they’re the only things in this movie earning your money.
  27. Heat
    Ultimately, though, the movie never transcends the limitations of its Hemingwayesque, men-with-men attitudes.
  28. SLC Punk!
    Lillard, who played the squirrelly Stuart in "Scream," brings a mischievous sense of humor and an easygoing charm to his potentially unsympathetic character.
  29. American Psycho
    There's nothing beyond the bloodshed and gallows humor, just intellectually secondhand implications about materialism, conformity and misogyny.
  30. Meet Joe Black
    Meet Joe Black is Hopkins's movie and, despite the film's unnecessary length, his quiet and dignified performance almost carries the ball across the finish line.
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