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. The Ultimate Gift
    There's nothing wrong with the moral of The Ultimate Gift's story; in fact there's everything right about it. But director Michael O. Sajbel too often succumbs to movie-of-the-week sentimentality and starchy pacing. Still, Breslin's captivating performance reminds you why she was recently nominated for an Oscar.
  2. Species
    Director Roger Donaldson may have started out aiming for intentional thrills, but ends up with unintentional comedy as his characters do and say the darndest things.
  3. Mark Felt: The Man Who Brought Down the White House
    As alternate history and a showcase for a fine Neeson characterization, “Mark Felt” offers an intriguing if incomplete view of a man who remains inscrutable, 40 years after the fact.
  4. An Unfinished Life
    This unusual convergence of stars doesn't amount to much.
  5. Imagine Me & You
    Imagine settles disappointingly for rom-com cliches. It doesn't even bother to explore its own premise.
  6. Blood Done Sign My Name
    Despite its earnestness and valuable lessons, however, "Blood" feels a little like preaching to the choir.
  7. Stalingrad
    As quickly as the technical elements pull the audience in, the plot pushes us away.
  8. Sold
    Sold is maudlin in a way that makes its audience, paradoxically, feel good, albeit superficially. A story of human trafficking should move us on a deeper, more uncomfortable level.
  9. The Children of Huang Shi
    The best thing about "Children" is the cinematography by Zhao Xiaoding ("Hero," "House of Flying Daggers"), which is so distracting because it so out-classes the rest of the movie.
  10. Open Season
    With a slick visual style similar to "Monster House", Open Season trots out tropes that recent animated classics have done with more wit and smarts.
  11. Lola Versus
    Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
  12. The Promise
    Attempting to make an atrocity palatable to a mainstream audience, The Promise delivers the history, but undercuts its impact.
  13. Crazy Like a Fox
    Mary McDonnell, as Nat's patient wife, provides too-brief clarity as Nat goes off the rails, finally taking the movie with him.
  14. Preaching to the Choir
    A religious feel-good message, first and foremost. As for drama, well, it's a distant second. For the right audience, however, this reversal of priorities will work just fine.
  15. Me, Myself & Irene
    If you choose to see this puerile tripe, check your dignity at the door.
  16. Zhou Yu de huo che
    Less a tale of mysterious, tragic love than a three-way Harlequin romance.
  17. My Kingdom
    Director Gao Xiaosong doesn't do anything surprising with this melodramatic material, but the movie boasts sumptuous costumes and several nifty action sequences.
  18. CB4
    As with any band movie, this is a moral, rise-and-fall tale. Rock must learn he's a regular guy, not a nasty poseur. Like Spinal Tap, the movie basically peters out, tying up its narrative loose ends. But for the laughs you get, it's a small price to pay.
  19. Thérèse
    With the exception of one heartbreaking and well-acted scene towards the end of the movie, the atmosphere is oppressive and the characters act as if their personalities have been shot with novocaine.
  20. Despicable Me 3
    Despicable Me 3 disappoints, if only mildly, not because it’s bad, but because it only aspires to be good enough.
  21. Running Scared
    Running Scared, ha. They ought to call this police story "Re-Running Scared." It's as cliche- riddled as Scarface's limo. [27 June 1986, p.29]
    • Washington Post
  22. The Chaperone
    Yet despite the stirring performance at its heart, the movie is ultimately too restricted by its own dramatic conventions, and it only seldom comes to life.
  23. Nine
    It's a film within a film about a film within a film, and seems to lose layers of authenticity with each iteration, finally becoming a profoundly alienating experience.
  24. Oh, God! You Devil
    The movie is full of half-witted Hollywood satire (the Devil's an agent -- get it?), lame wordplay, and easy moralism about family being more important than career blah blah blah. [09 Nov 1984, p.F8]
    • Washington Post
  25. The Man in the Iron Mask
    The Three Musketeers, a rusty trio of middle-aged retirees, have all but changed their motto from "All for one and one for all" to "I have fallen and I can't get up" in this less-than-rollicking adaptation.
  26. 30 Minutes or Less
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
  27. Venom: Let There Be Carnage
    What it lacks in originality it makes up for with a streamlined story, a sharp pace — there isn’t a superfluous moment or a wasted scene — and quips galore.
  28. Soul Men
    Misbegotten buddy-bonding comedy of errors.
  29. Silent House
    It will make you jump, to be sure, and your heart to beat a little bit faster. But what's truly scariest about it takes place not in the body, but in the mind.
    • 49 Metascore
    • 50 Critic Score
    The Quick and the Dead
    The Quick and the Dead is made bearable by director Sam Raimi, who bombards us with frenetic editing, crazy-angle shots and enjoyably cartoonish cliches. But all the stylistic sleight of hand in the world can't hide the central problem: The star of the show is more Dead than Quick.
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