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. No Man's Land
    No Man’s Land doesn’t quite cover uncharted territory in the way its creators seem to want it to. Nor does it arrive at a destination you can’t see coming from miles away. Still, the destination makes the tedium of the trip worthwhile.
  2. The Monuments Men
    The Monuments Men often lets the schematic gears show, succumbing to threadbare formula and sentimental cliches rather than taut, sophisticated drama.
  3. The International
    The compulsively watchable Owen makes for an ideal leading man of both action and angst. The film's eye-popping set piece, a shootout at the Guggenheim Museum, is an extravagantly choreographed valentine to philistines everywhere.
  4. Betsy's Wedding
    Betsy's Wedding is white cake and warm bubbly, not an unsuitable marriage, just a tepid one.
  5. Rudderless
    Rudderless is a competent, well-acted melodrama, yet in scope and ambition it has the modest and serviceable scale of the small, not silver, screen.
  6. The Producers
    It's too long to be great and it's too square to be great and it's too loud to be great and it finds homosexual effeminacy too funny to ever be called great, but I can't imagine anyone coming out sadder than they went in.
  7. Felony
    The three actors excel in their roles, and director Matthew Saville gives additional insight into the men through small yet informative details.
  8. Nacho Libre
    Is it funny? Now and then. Stupid? Very. Racist? Possibly. Ugly? Profoundly. Wild? Undeniably. Singular? Completely.
  9. Rich and Famous
    The new movie adorned with this sure-fire title happens to be a tacky and disreputable attempt at a sophisticated comedy about women writers.
  10. Triple 9
    Triple 9 feels more like a collection of good scenes than a novel, propulsive whole. Viewers are apt to be entertained by the film’s visceral pulp pleasures, but left apathetic when it comes to its instantly forgettable genre cliches.
  11. Everything, Everything
    Stenberg and Robinson are enormously appealing young actors, but charisma only goes so far in a story that manages to be, as directed by Stella Meghie (“Jean of the Joneses”), sterile and wildly far-fetched.
    • 52 Metascore
    • 50 Critic Score
    Manolo: The Boy Who Made Shoes for Lizards
    Talking-head interviews interspersed with reenactments reminiscent of cheap true-crime shows are the filmic equivalent of a polo shirt and khakis: blandly acceptable but uninspired.
  13. The Object of My Affection
    Wendy Wasserstein brings a dull pen to this literary adaptation, which shows none of the bite or savvy of Stephen McCauley's novel.
  14. Epic
    Enormously visually appealing, even if the story itself is almost unrecognizably bloated.
  15. Paul, Apostle of Christ
    Clearly well timed with Lenten reflections on sacrifice, service, suffering and responsibility. But it offers an equally relevant — and inspiring — portrayal of principled steadfastness and spiritual integrity in the face of a petty, corrupt and tyrannical leader.
    • 52 Metascore
    • 70 Critic Score
    Shirley Valentine
    An uncommonly warm, relaxed little movie, the kind they call a "feel-good film," but without a cloying artificially-sweetened aftertaste.
  17. Romeo Must Die
    Based on "Romeo and Juliet" the way a martini is "based" on vermouth.
  18. Rat Race
    And even though the jokes keep on coming, not all are side-splitters. But before it's all over, they will have viewers howling at one or more pants-wettingly silly moments.
  19. Snake Eyes
    A glittery but dunderheaded murder mystery.
  20. Win a Date with Tad Hamilton!
    Forget Tad Hamilton -- this is really a 90-minute date with Kate Bosworth.
  21. Blow
    You can't make an epic about a mouse.
  22. Under the Tuscan Sun
    It's like a music video of Helen Reddy's "I Am Woman" filmed in the Chevy Chase Pottery Barn.
    • 52 Metascore
    • 50 Critic Score
    The Frighteners
    Ponderously cliched and predictable. [19 July 1996, p.N33]
    • Washington Post
    • 52 Metascore
    • 50 Critic Score
    Safe House
    Swedish director Daniel Espinosa isn't as adept at chase scenes as "Bourne" director Paul Greengrass: We sometimes lose track of who's supposed to be where and which direction the bullets are flying.
  25. Janie Jones
    Nivola and Breslin make a terrific mismatched pair in a film that often resembles a mash-up of "Crazy Heart" and Sofia Coppola's "Somewhere," which may account for why it too often feels derivative and contrived.
    • 52 Metascore
    • 50 Critic Score
    Hit So Hard
    Schemel's life story contains many interesting pieces - growing up as a lesbian in a conservative rural town, battling a lifetime of drug addiction, spending years in proximity to Love - but Hit So Hard often finds her as an extra in her own film.
  27. Bilal: A New Breed of Hero
    Epic in its ambitions and often visually and emotionally strong, the film nevertheless suffers from a confusing narrative and a style of computer animation that blurs the lines between the real and the animated in a way that evokes the discomfiting artifice of “The Polar Express” (2004).
  28. Labor Day
    It’s difficult to believe a word of Labor Day, but then again you don’t have to in order to luxuriate in Winslet and Brolin’s bubbling, steaming chemistry.
  29. The Hunger
    There's style and humor, but the visual excess overwhelms the weak plot. [29 Apr 1983, p.17]
    • Washington Post
  30. One Chance
    Despite the story’s familiarity, its star manages to turn its many tropes into a winning formula.
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