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. You People
    You People sounds preachy, doesn’t it? Trust me, it’s not. What it really is is a master class on wedge issues and our shared humanity, delivered by comedians who know that laughter can be at once a bitter pill and the best medicine.
  2. Blast from the Past
    A mediocre comic romance.
  3. Child of God
    Franco’s hand-held camerawork draws the story forward as unfussily as a shepherd leads a sheep, and yet with a kind of ghastly grandeur. This is functional filmmaking more than it is flashy. But there is, at its heart, a single virtuosic performance.
  4. My Super Ex-Girlfriend
    The two starring performances are spot on. Wilson gets the tone that screenwriter Don Payne so expertly evokes: It's a weird sort of self-aware despicability...Thurman is beautiful, fearless and perfectly believable as a superhero.
  5. Step Up 2: The Streets
    Let's wait for a movie where they do get it all right: story, acting and dancing. It'll happen, just not this time.
  6. Welcome to the Rileys
    "Welcome to the Rileys"? Thanks, but no thanks.
  7. GameStop: Rise of the Players
    It’s a yarn that’s made for a great storyteller, with thrills and chills to burn. But the way Tulis spins the thread is wonkier and clunkier than it could, or should, be.
  8. Prince of Darkness
    Carpenter being Carpenter, he vacillates between overexplanation -- his are the most verbose horror films -- and cheap shocks.
  9. Runaway
    An entertaining, light-hearted cops and robots action adventure decked out in high-tech finery. [14 Dec 1984, p.31]
    • Washington Post
  10. Deterrence
    A surprisingly gripping experience.
  11. Home on the Range
    Comes across less as a fully realized work of storytelling than as a commercial for a corporation whose goal of entertainment has been replaced by that of making money.
  12. Poseidon
    Petersen leaves out, largely, character, back story, anecdote and warm personal relations. Poseidon isn't cute, funny, warm, nice, inspirational or uplifting. It's about the incredible labor of survival in a world turned totally sociopathic in an instant.
  13. Now You See Me
    The problem is that, in focusing on what makes a good caper, director Louis Leterrier forgot about what makes a good movie: character development, carefully constructed tension and believable plot points.
    • 50 Metascore
    • 20 Critic Score
    Funny Farm
    INDULGE me for a moment: Funny Farm, the latest lame critter from the Chevy Chase stable, is hogwash. A real turkey. A load of horse manure. There. Now that I have the farm puns out of my system, I can calmly urge you to avoid Funny Farm. [3 June 1988, p.N37]
    • Washington Post
  15. Guarding Tess
    All of the supporting characters -- notably tubby Richard Griffiths as Tess's nurse and mousy Austin Pendleton as her chauffeur -- are thinly drawn, but neither MacLaine nor Cage leaves much room for anyone to overact.
  16. The Other Boleyn Girl
    Even by its own standards, the movie becomes increasingly macabre and ludicrous as Anne's machinations get the better of her, and everyone, including the audience, is left feeling shattered, shaken and vaguely unclean for having participated in all this.
  17. Operation Chromite
    Director John H. Lee isn’t big on John Le Carré-style intrigue and introspection. (The dialogue comes in only two flavors: blustering and sentimental.) He’s better at the shootouts and chase scenes, which are loud, lively and well-choreographed, if sometimes outlandish.
  18. Prince of Persia: The Sands of Time
    An energetic if empty-headed adventure based on the popular video game.
  19. Dark Skies
    The movie builds a moderate, if less than monumental, level of spookiness, regardless of your ignorance. It’s a workmanlike piece of suspense.
  20. The American Society of Magical Negroes
    The lightweight nature of the plot is, arguably, appropriate to the film’s gentle comedy, which elicits chuckles here and there, but rarely stings or draws blood.
  21. Halloween III: Season of the Witch
    Obliged to launch the hero on an effective counterattack down the stretch, Wallace goes through the motions proficiently enough for exploitation thriller purposes. He should have quit while he was ahead, but Halloween III demonstrates a reasonable ability to control comic-horror effects on his first derivative try. [27 Oct 1982, p.D9]
    • Washington Post
  22. Sugar Hill
    Sugar Hill is often more unflinching in its detailing of the death trip drugs provoke -- a pair of overdoses are particularly harrowing and the gun-violence is sufficiently sudden and shocking -- but much of its message feels as if it's being delivered by Western Union.
  23. Elles
    The acting by Binoche and her two young co-stars is more nuanced than the film deserves. They bring a rich expressiveness and sense of complex inner life to their characters. It's the movie - and its placard-sized message - that is more two-dimensional.
  24. Cowboys & Aliens
    A loving throwback to the classic westerns and sci-fi adventures of yore, this celebration of two of cinema's most revered genres doesn't stint in lavishing their most cherished conventions with even-handed affection and respect.
    • 50 Metascore
    • 37 Reviewed by
      Ty Burr
    The Greatest Hits
    You know how a pop song from a moment in your past can bring that moment back to life in colors, smells, memories and emotions? “The Greatest Hits” takes that idea and literalizes it right into the ground.
  26. The Purge: Anarchy
    The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
  27. Blonde
    Reductive, ghoulish and surpassingly boring, “Blonde” might have invented a new cinematic genre: necro-fiction.
  28. Mickey Blue Eyes
    About as funny as digging your own grave in an unmarked part of New Jersey.
  29. Where the Money Is
    The bad news? The story, which rumbles along like an unattended wheelchair on a gently sloping sidewalk.
  30. The Four Feathers
    The movie's deeper problem and its primary disappointment: its unwillingness to deal directly with the issue of colonialism.
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