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. Heavyweights
    By the end, the film deteriorates into a combination sensitivity session and pep rally.
  2. Blank Check
    In the end, family ties are re-strung, but the morals remain annoyingly at loose ends.
  3. First Kid
    Sinbad, one of show business's sunniest souls, brings much-needed buoyancy to this somewhat soggy tale of kindred spirits. [30 Aug 1996, p.F06]
    • Washington Post
  4. Honey, I Blew Up the Kid
    This is fun and there are few kids who won't have a good time of it. But it's no Honey, I Shrunk . . . The first movie was more interesting and inventive, with the tiny kids facing the jungle terrors of a giant lawn and the aerial attack of a zeppelin-sized bee.
  5. Rookie of the Year
    Rookie of the Year is a wholly benevolent but banal baseball fantasy aimed at Little Leaguers with dreams of reaching big-time fields.
  6. Operation Dumbo Drop
    On the one hand, it's a diverting entertainment for children and young adults; on the other, it's a ludicrous fantasy about a war whose complexities cannot be contained by facile metaphors.
  7. Wendy
    That’s the real, and somewhat obvious, lesson here, in a lovely yet flawed confection that might be summed up by two words: beautiful nonsense.
  8. Pacific Heights
    Director John Schlesinger bolsters the rickety script with cameras that spin like Linda Blair's head. If you don't get spooked, you'll at least get dizzy.
  9. Fright Night
    Fright Night is really "Fright Lite," a film promising more than it delivers, and even that delivery is so late in the game that you may want to arrive fashionably late and skip what passes for plot development and concentrate on Richard Edlund's special effects. [05 Aug 1985, p.B3]
    • Washington Post
  10. Shooting the Mafia
    Most gratifying — if also gruesome — are the many examples of Battaglia’s powerful photographs of Mafia victims. Although black-and-white, they are deeply disturbing, and it is easy to imagine that Battaglia found the work difficult. Imagination is necessary, because Battaglia herself doesn’t provide the deep introspection you might expect.
  11. The Prophecy
    Though the actor (Walken) does little more than stroll through the film, he creates such an immediate sense of electricity that everyone else seems dim by comparison. Angels, devils or cops, they just aren't in his league.
    • 48 Metascore
    • 50 Critic Score
    The Call of the Wild
    Stands out for its earnest effort to entertain without commenting on itself or the modern world.
  13. The Good Son
    The mere presence of the adorable baby star, in fact, seems to throw the whole film out of whack, making the picture play more like an inadvertent comedy than a thriller.
    • 62 Metascore
    • 50 Reviewed by
      Hau Chu
    Free Guy
    It’s hard not to imagine that there could have a better version of this movie’s premise: one that upped the cultural satire, while still having fun tossing low-key, cheeky references at the audience. In the end though, disappointingly, Free Guy only plays itself.
  15. Fire in the Sky
    Essentially, this is a film about humans as victims of alien abuse, a mediocre look at helplessness.
  16. The Matrix Resurrections
    Wachowski seems to be at war with her audience, rewarding them with deep-cut callbacks one moment only to roll her eyes at the entire enterprise the next.
  17. Death on the Nile
    One of the worst ideas in Murder on the Orient Express was the repeated reenactment of the murder scene. Death on the Nile compounds this vulgarity by visualizing almost every speculation Poirot entertains about his fellow passengers. The redundancy of it all becomes ridiculous. [29 Sep 1978, p.D1]
    • Washington Post
  18. Judgment Night
    Judgment Night is regrettably familiar fare.
  19. Striptease
    A sexless seriocomedy that would be a bust without the support of Burt Reynolds and Ving Rhames. The pair bring a much-needed lift to this tale of a mother at the mercy of the system. Without them, the movie is mostly a showcase for the star's personal trainer.
  20. Men at Work
    Like the jokes, the brothers' rapport seems recycled from childhood. Sheen and Estevez are hardly working.
  21. Dick Tracy
    Dick Tracy is an ambitiously vainglorious effort, expensive, beautifully appointed, but at its core empty as a spent bullet. It asks us to read these comics without a grain of salt or a pinch of irony.
  22. Sign 'o' the Times
    The film as a whole is a little like one of those inflatable love dolls -- a reasonable facsimile, but nothing like the real thing.
  23. Big Business
    This classic comedy of errors is over-structured by cousin-writers Dori Pierson and Marc Rubel and mechanically laid out by director Jim Abrahams.
  24. The Forever Purge
    There’s a nugget of . . . maybe not wisdom, but something gristly worth chewing on here, if you have the stomach to stick your hand into gaping intestines, pull it out and wipe off the blood. I wouldn’t call it food for thought, but it gives “Forever” a slightly higher nutritional value than some of its predecessors.
  25. Created Equal: Clarence Thomas in His Own Words
    "Created Equal” doesn’t offer many insights, at least not in a deeply satisfying way, as to how and why he has changed.
  26. Dead Men Don't Wear Plaid
    A curiously overextended spoof of the cliche's of Hollywood's hard-boiled mystery melodramas of the 1940s. [21 May 1982, p.B4]
    • Washington Post
  27. Eyewitness
    The movie's very smoothness may set viewers up for a letdown. It's a low-key exercise in genre suspense and romance that fails to generate a high level of excitement or deliver classic dynamic thrills. [06 Mar 1981, p.C1]
    • Washington Post
  28. Jagged Edge
    Despite handsome performances by Glenn Close, Jeff Bridges and a good supporting cast, Jagged Edge isn't a movie -- it's a director's exercise. [10 Oct 1985, p.C12]
    • Washington Post
  29. Tank
    Well, cloddish as it is, Tank doesn't put any obstacles in the way of separating the good guys from the bad guys. And while you might justly call it stupefying, it's never boring. [28 Mar 1984, p.B17]
    • Washington Post
  30. The Principal
    Despite the Sybil-like plot (and questionable Rambo mentality), there's something watchable about it all. Weird it is, flop it ain't.
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