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. Star Trek: Generations
    A flawed but funky adventure.
  2. Revenge of the Nerds
    "Nerds" is erratic -- more gags work than don't, but more situations don't work than do. There are some great throwaway lines. [10 Aug. 1984, p.23]
    • Washington Post
  3. Thief
    It's the most exaggerated example yet of the abiding imbalance in modernist filmmaking, where an abundance of texture fails to conceal a minimum of substance, although it frequently makes the act of concealment pictorially exciting. [27 Mar 1981, p.C1]
    • Washington Post
  4. Universal Soldier
    By its own deliriously rock-bottom standards, "Universal" ain't half bad. Of course, you have to be big on bloody slaughter, kickboxing, infrared gunning and impaired acting. But "Universal" executes its subtle-free mission with surprisingly watchable efficiency.
  5. Chances Are
    As love interests go, Shepherd and Downey are about as hot as Ike and Mamie Eisenhower, though the apoplectic Downey does have his comedic moments. Always a standout, Masterson is pensively provocative as Miranda, something of a teen-age Kim Novak.
  6. The Client
    Unfortunately, the film rarely slows long enough for the actors to do anything more than sketch in their characters. On the other hand, the showdowns between Sarandon and Jones are choice; it's a meeting of charismatic equals.
  7. F/X2
    The story line is little more than a shiny hat for holding the high-tech rabbits. Still, it's an enjoyable bit of smoke and mirrors, thanks to the decency and resourcefulness of its hero.
  8. The Untouchables
    The real root of the movie's problems may lie in the fact that Mamet has identified with the men of principle and De Palma with the scoundrels -- in other words, with Capone instead of the eagle-scout Ness.
  9. Alien 3
    Ironically, Alien is not a bad movie. In fact -- here's the rub -- it's too interesting to make an exciting summer flick.
  10. Poltergeist
    A fitfully witty and reliably spine-tingling horror melodrama...While it works you over effectively, Poltergeist betrays a good deal of rather dubious, uncoordinated manipulation. [4 June 1982, p.D1]
    • Washington Post
  11. Mad Max Beyond Thunderdome
    Beyond Thunderdome the film falters. The new, mild Max is banished to the desert, where he meets a tribe of feral children and leads them out of the desert like Moses. Naturally, it's a pleasure to watch Gibson, no matter what his mood. And as usual, the costumes and sets are imaginative and elaborate. But since "The Road Warrior," punks have adopted the style and none of it looks that original anymore. [12 July 1985, p.27]
    • Washington Post
  12. Carlito's Way
    Below the attention-getting surface, there's no sense of humanity underneath. The day De Palma pulls away the masks from his characters, they'll start to breathe -- and so will his films.
  13. Space Jam
    Obviously, this was just meant to be a fun experience. But the movie fulfills those duties on the most mundane level. You have to treat Space Jam like that well-known fast-food Jordan loves to promote: It doesn’t matter how the movie is prepared, only that it’s served and ready to go.
  14. National Lampoon's Christmas Vacation
    Chase presides amiably over this uneven but affable slapstick comedy.
  15. Top Gun
    Top Gun is basically "An Officer and a Gentleman" with less spirit and depth. But it's still fine formula movie-making -- like a feature-length "Be All That You Can Be" commercial. It's got lots of loud music, hot colors, heat-seeking missiles and other pointed objects. Real men squint into the radar's gleam below deck, while real men hunt MiGs upstairs. [16 May 1986, p.29]
    • Washington Post
  16. Muppet Treasure Island
    Kermit, who takes to the role of Smollet like a grunion to running, is commanding, but it is Piggy as Smollet's castaway flame who puts much-needed wind into the movie's luffing sails. Clad in a muumuu and clamshells, she sets Kermit's timbers a-shivering as in the old days. Their love for each other—like America's love for Muppets—is simply unsinkable.
  17. Adventures in Babysitting
    Babysitting, the directorial debut of The Goonies and Gremlins writer Chris Columbus, is a sweet-natured, adolescent variation on the big-city black comedy After Hours.
  18. Dead Calm
    Noyce's direction moves impressively from sensual tenderness (between husband and wife) to edge-of-the-seat horror. he finds lurking dangers in quiet, peaceful waters and goes down with the good ship Dead Calm, his head held high. If you don't mind 11th-hour disappointments (including a laughable, Hollywood-kicker ending), you'll enjoy going down with it too.
  19. La Bamba
    La Bamba is a puzzle -- a real mixed bag. Some of it, like the braying, cock-and-bull performance by Esai Morales, is just plain awful. But other bits, like the performances by Rosana De Soto and, as Ritchie's agent, Joe Pantoliano, are unexpectedly vibrant.
  20. Bad Influence
    A surprisingly tame and humorless effort by director Curtis Hanson of Hitchcock-spoofy The Bedroom Window, the movie does provide a couple of good jolts.
    • 64 Metascore
    • 60 Critic Score
    It Could Happen to You
    In the end, It Could Happen to You is a lot like the cop and the waitress: sweet, naive, not too smart, but likable. In this pyrotechnic summer of "Speed," "Blown Away" and "True Lies," that's got to count for something.
  22. Jumpin' Jack Flash
    The charismatic comedienne pulls the slipshod spy adventure Jumpin' Jack Flash out of the fire. [10 Oct 1986, p.N29]
    • Washington Post
      • Posted Jun 28, 2017
  23. Planes, Trains & Automobiles
    There are many periods when the two men are traveling and you feel the need to fast-forward the movie to another scene. This is not a great comedy but it's a string of funny highlights.
  24. Two Evil Eyes
    Where Romero goes for the cheap, linear approach, Argento's storytelling is painfully poetic, with ever-shifting points of view and asides. It's not unusual for him to drop a Middle Ages dream sequence in the middle of things, rely on the unpredictability of a cat to advance the plot, or resort to pure shock that's no less shocking because it's expected: There's a madness in Argento's method and it's always appropriate.
  25. Short Circuit
    In Short Circuit, there's nothing at stake, either emotionally or artistically or howsoever -- and I mean nothing -- but the movie's so diverting, and so giddily oblivious to its own faults, that it almost doesn't matter. Funny and paced at a gallop, it's a melt-away movie made for summer nights. [09 May 1986, p.D1]
    • Washington Post
  26. Up in Smoke
    In a brilliant reenactment of what must be one of their definitive routines, these Furry Freak Brothers from opposite sides of town proceed to get acquainted over a joint the size of a blunderbuss muzzle. It's a new classic among comedy-team encourters: hilarious rapport at first toke. [11 Oct 1978, p.B1]
    • Washington Post
  27. The Money Pit
    The sub and the sub-sub plot, something to do with Hanks' dad in Rio, get in the way of the hijinks with the house and the tentatively developed relationship between the stars, who have a cute chemistry that's convincing enough for a good slapstick comedy. [28 Mar 1986, p.25]
    • Washington Post
  28. A Midsummer Night's Sex Comedy
    It's not Allen's best film, but fans of the Woodman should not resist. Whether it's the future of Sleeper or the turn-of-the- century of Sex Comedy, Allen plays the same character -- always bewildered, always sex-obsessed, always under-consummated. [23 July 1982, p.11]
    • Washington Post
  29. Ruthless People
    Ruthless People has an enchanting comic premise -- everyone in the film is either an S.O.B. or wants to become one. But ultimately, the black comedy is not pursued very far -- the movie's too good-natured for its own good. And the elaborately worked-out farce structure, involving a victim who may be either kidnaped or dead, is mostly wasted on a style of humor that, by comparison, makes Buddy Hackett seem the very soul of sophistication. [27 June 1986, p.D1]
    • Washington Post
  30. Top Secret!
    I suppose it's also less than inspired to portray a ballet company where the codpieces of the male dancers bulge out so far that the ballerina can cover the width of the stage using them as steppingstones. Nevertheless, some dumb, obvious gags have a way of working by impudently flaunting their dumbness and obviousness, and this appears to be a textbook example. In fact, for the juvenile public that should supply its best audience, Top Secret! may serve as a veritable primer of irresistibly terrible wheezes.
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