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. Blade
    Blade's stomach-turning special effects, bone-crunching martial arts and cynical humor will more than satisfy any action-film addict's need for a fix of eye-popping escapist adrenaline.
  2. True Crime
    The geological equivalent of an albatross around the neck. It's another of those Warner Bros. productions that are heavy on star iconography and production values but AWOL on story.
  3. Midnight in the Garden of Good and Evil
    Like the South, the movie is sumptuous and somnolent.
  4. May
    In visual terms, it's clear McKee has a talent for moviemaking...But he's going to need better stories than this.
  5. Wild at Heart
    The movie's initial intensity is so great, it consumes itself. By the time we reach the final scene, which is clearly supposed to exude glorious rapture between offbeat lovers Nicolas Cage and Laura Dern, it has all the warming effect of cold ash.
  6. Bring It On
    A spoofy paean to cheerfolk that has more bounce per flounce than most tales about teen queens.
  7. Hukkle
    The film is ultimately too self-regarding, too smug to be transcendent itself.
  8. The Passion of the Christ
    Even within what often looks like a self-indulgent exercise in humiliation, pain and gratuitous gore, there is no denying the moments of genuine and powerful feeling in The Passion of the Christ -- some of which, by the way, evoke Jesus's most profound teachings of Jewish principles.
  9. Barton Fink
    Like the mysterious, bound package Goodman gives Turturro (the contents are never revealed), the Coens isolate a small area of interest, bind it with psycho-atmospheric finesse, then wait for something significant to emerge. Even after a second viewing of this movie, it doesn't.
  10. The Grudge
    It's effectively frightening. It's just not the kind of frightening that stays with you very long, unless of course someone decides to make the same movie . . . yet again.
  11. Scary Movie 2
    It's a lot more tightly focused than the first outing, and for fans of the demented comedy of Elliott and Cross, or the thespian chops of Woods (a last-minute replacement for an ailing Marlon Brando), it's worth putting up with humor that's the filmic equivalent of a big, spit-soaked raspberry.
  12. Ella Enchanted
    Good and entertaining fun.
  13. The Door in the Floor
    Bridges can't be a whole movie. But he's the main reason to watch.
  14. The American President
    Like Shepherd's speech, The American President touches on all manner of issues but illumines none of them. And while there are some engaging glimpses of the president's staff in action...the film's principal pleasures lie in the president's pursuit of a first lady.
  15. Bridget Jones: The Edge of Reason
    Yes, it is v. funny. It's just not v. clever. And clever is what made the original Bridget Jones movie such a hoot.
  16. The Day After Tomorrow
    It's the Weather Channel on steroids.
  17. Goodbye Lenin!
    It's a sweet family dramedy whose political undertones don't flatter either capitalism or "democratic socialism."
  18. Kinsey
    For all its explosive material, this is a fairly straightforward telling.
  19. Mulholland Dr.
    Mulholland Drive is an extended mood opera, if you want to put an arty label on incoherence.
  20. Requiem for a Dream
    While director Aronofsky pistol-whips your attention with his style, the characters (mostly relegated to human mannequins in Aronofsky's visual schemes) suffer big time.
    • 74 Metascore
    • 60 Critic Score
    The Sea Inside
    Placid and rather attractive on the surface, with depths you can sense but which are never fully plumbed.
  22. A Very Long Engagement
    Engagement simply disappears inside its own enormous, intricate and ambitious design.
    • 49 Metascore
    • 60 Critic Score
    Benji: Off the Leash!
    The overall unevenness of tone is the movie's biggest flaw, but the slo-mo scenes of doggie derring-do are quite funny.
  24. Finding Neverland
    You're expected to weep, and perhaps you will weep. But if you do, it's not likely that you'll respect yourself in the morning.
  25. The Aviator
    We may enjoy watching the spectacles, but we don't much care for, or even have a feeling for, the guy in the cockpit.
  26. Courage Under Fire
    I sat through "Courage" with interest, but I wasn't particularly moved or riveted with suspense.
  27. The Chamber
    Though it lacks the gloss, twists and star power of earlier Grisham movies, The Chamber does possess Gene Hackman's most cantankerous turn since the lowdown lawman he created in "Unforgiven."
  28. Clear and Present Danger
    There's nothing "wrong" with this movie but it feels like warmed-over business as usual.
  29. Afterglow
    Afterglow may not bestow Julie Christie with the hip imprimatur of a Travolta-style comeback. But the British actress coyly and elegantly updates the siren-ish presence she exuded in "Darling," "Far From the Madding Crowd," "Petulia," "The Go-Between" and even "Shampoo." [16Jan1998 Pg N.32]
    • Washington Post
  30. Brassed Off
    Brassed Off gets bogged down in sentimentality; and that political agenda is spread on thick.
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