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. Indian Summer
    Indian Summer would like to be to the '90s what "The Big Chill" was to the '80s. But something is missing, namely a superior cast, a more engaging group of characters, a far smarter, more focused script, and Lawrence Kasdan's expertly timed direction. This is a wan knockoff.
  2. Sister Act
    Though the film has its moments and Goldberg is a riot, Sister Act is far from inspired.
  3. The Gentlemen
    A funny, violent, rambunctious shaggy-dog story of a crime caper featuring an ensemble cast studded with colorful characters played by name actors. In other words, it’s more “Snatch” than “Aladdin,” which was only the latest of Ritchie’s misbegotten attempts to achieve mainstream respect by retelling someone else’s stories.
  4. Star Trek: Nemesis
    An offering so endearingly lame it seems to have missed the past 10 years' worth of special-effects breakthroughs.
  5. Birth
    Too highbrow for the multiplex and too literal for the hipsters, it's unsatisfying both as gothic camp and serious cinema.
  6. Cirque du Soleil: Worlds Away
    Cirque du Soleil: Worlds Away has plenty of eye candy... What the movie lacks, unfortunately, is coherence.
  7. Going the Distance
    It's filthy, funny and kind of sweet, if not quite up to the level of Judd Apatow's oeuvre in the burgeoning field of R-rated comedies with heart. You will laugh and blush in equal measure.
  8. Mowgli: Legend of the Jungle
    In some ways, Mowgli feels like an origin story. There’s a slight but unmistakable suggestion of a potential sequel to its open-ended climax.
  9. Mike and Dave Need Wedding Dates
    Mike and Dave Need Wedding Dates is uproarious and flamboyantly raunchy, utterly stupid yet also occasionally winning
  10. Lucía, Lucía
    I love a good story, too, but I prefer one that actually goes somewhere (although, as joy rides to nowhere are concerned, this one is a beaut).
  11. The Brown Bunny
    It's not really a movie. I suppose it's what could be called a recorded behavior.
  12. The Monkey King 3
    Viewers who aren’t in the mood for star-crossed love will prefer the slapstick and earthy humor, including a sequence in which three of the guys get pregnant. It’s another fine mess the resourceful monkey king has to rescue his comrades from.
  13. Papillon
    The only real crime here is the debasement of a great film’s name.
  14. Moscow Never Sleeps
    O’Reilly’s ambitions notwithstanding, “Moscow” is uneven because of the inescapable nature of such interlocking narratives: some land better than others.
  15. Diary of a Wimpy Kid 2: Rodrick Rules
    You can't fault the filmmakers for reshaping a diary into a cohesive film. You can however, fault them for taking one of the great antiheroes in preteen literature and turning him into, well, an even wimpier kid.
    • 51 Metascore
    • 63 Critic Score
    The Bad Seed
    The Bad Seed was a successful novel and Broadway play before it was made into a movie, and the melodramatic quality of much of the writing and acting betray these roots. But the movie's artful black-and-white cinematography still contributes much to making this a remarkably gripping chiller. [05 Apr 1987, p.Y6]
    • Washington Post
    • 51 Metascore
    • 80 Critic Score
    The Favor
    The Favor is a frisky, frank and funny female-buddy film - as if "Thelma and Louise" had stayed in the suburbs, making girl-talk about sex and satisfaction, married vs. single.
  18. The Night Listener
    Aiming to blur the distinctions between truth and illusion, it simply blurs its own effectiveness by relying on predictable and not particularly convincing mystery-thriller formula.
  19. 21 Bridges
    21 Bridges will win no prizes for originality or twists. (It won’t win any prizes for anything, to be honest.) But it’s made well enough. Brothers Joe and Anthony Russo (“Avengers: Endgame”) are the producers, and Irish director Brian Kirk (“Games of Thrones”) knows how to keep an old jalopy like this well-oiled to get us across the finish line.
  20. Marry Me
    It’s a movie that’s all too happy simply to go through the motions when its star is clearly capable of busting bigger, more interesting moves. Luckily, there are other films in the sea. This is one that Lopez should have left at the altar.
    • 51 Metascore
    • 75 Critic Score
    Lyle, Lyle, Crocodile
    The title character of Lyle, Lyle, Crocodile may be a coldblooded reptile — in this case, one who sings — but never you worry: This family flick delivers enough pulse-quickening earworms and warmth to melt even the iciest of hearts.
  22. Hardcore Henry
    The sense of goofy, if gory, good humor [Copley] brings to Hardcore Henry goes a long way toward mitigating the film’s tedious barbarity.
  23. Parkland
    A film of modest ambition and workmanlike pacing, it breaks little new ground, either in form or content. Then again, that may be the point.
  24. John Carter
    Even Strong's best efforts can't save John Carter from collapsing in on itself like a dead star.
  25. Mulholland Falls
    A sort of empty hat. Patterned after such noir classics as "The Big Sleep" and "Chinatown," the film is written in an arch, self-consciously hard-boiled style by novelist Pete Dexter that comes close to parody.
  26. Taken
    A satisfying thriller as grimly professional as its efficient hero.
  27. My Sister's Keeper
    Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
  28. Step Brothers
    So childish it seems to arrive in diapers, and that's not bad; it's good.
  29. Just an American Boy
    Decidedly low-tech and not always particularly coherent or cohesive.
  30. Mr. Mom
    Mr. Mom has its share of bright lines and funny moments, but if you bring anything beyond trifling expectations to this role-reversal farce, starring Michael Keaton and Teri Garr as a couple obliged to switch homemaking and breadwinning duties, it will be difficult to avoid feeling shortchanged. [20 Aug 1983, p.C1]
    • Washington Post
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