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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    • 49 Metascore
    • 50 Critic Score
    Ten9Eight: Shoot for the Moon
    Less weird than "Spellbound" and less fun than your average episode of "America's Top Model," Ten9Eight shoots for the moon, but scans like the background noise at a philanthropic retreat.
  2. Cake
    There’s no doubt that Aniston deserves more roles like this one but, with luck, in less maudlin, more surprising movies.
    • 48 Metascore
    • 37 Reviewed by
      Ty Burr
    The Instigators
    If you’re already a subscriber to Apple TV Plus and have absolutely nothing else to do, “The Instigators” is worth a look.
  4. Angel-A
    Angel-A is counterfeit art-house chic writ large -- a French film that fails to produce the ineffable charms of the yesteryear movies it brazenly imitates.
  5. Run, Fatboy, Run
    Rather like the faltering way Dennis runs the race, Pegg the performer insists that we keep watching, ever hopeful for a decent gag. And we spend most of our time thinking back to movies that better showcased his talents, such as "Shaun of the Dead" and "Hot Fuzz."
  6. Scoop
    This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.
  7. The Exorcist III
    It is unsparing when it comes to gruesome descriptions and ominous characters, but it's got more giggles than goose bumps. The Exorcist III isn't about to scare anybody.
  8. 13 Hours: The Secret Soldiers of Benghazi
    As an action film, it is intense and gripping. As a drama, it is bombastic and unsubtle.
  9. Gung Ho
    Howard entices us into overlooking the film's faults with some genuinely amusing scenes, particularly those featuring Japanese-American Gedde Watanabe as a beleaguered Assan executive who doesn't fit the corporate mold. [14 Mar 1986, p.27]
    • Washington Post
  10. Less Than Zero
    Less Than Zero, an aptly titled tale of snooty California drug snorters, is dumber and duller than primordial ooze. It's one of those silly speed-bumps-in-the-fast-lane laments, though it does have a significant message: Get off the freeway or take the last exit ramp to the Betty Ford Clinic in the sky.
  11. Jennifer 8
    British writer-director Bruce Robinson, who won kudos for his screenplay "The Killing Fields" and his novel adaptation "Withnail & I" doesn't have a clue when it comes to this populist genre. What he has are cliches.
  12. A Lot Like Love
    It starts with a bang and ends with a whimper.
  13. Ready to Wear (Prêt-à-Porter)
    The picture is not a social satire. It’s a mess.
  14. Golda
    The film does have its moments, mostly involving the relationship between Meir and U.S. Secretary of State Henry Kissinger, nicely played by Liev Schreiber, whose character engages in delicate negotiations with her over a bowl of borscht, speaking in a seductive, diplomatic rumble.
  15. Titan A.E.
    It continually crashes and burns on its own banality.
  16. The Banger Sisters
    From opening to closing credits, there isn't a single genuine moment -- as phony as a dime bag of oregano.
  17. Charlotte Gray
    Those who do go with the fantasy are probably hopeless romantics.
  18. Kingdom Come
    You're hard-pressed to dislike the film.
  19. Brothers in Arms
    Will this film do Kerry any good, or the Swifties any harm? My bet is: Not a bit, one way or the other.
  20. Charlie's Angels: Full Throttle
    Two-hour exercise in chaotic action and coarse, annoyingly coy sexuality.
  21. Remember the Titans
    So smug and so proud of itself, and you can tell that everybody involved conceives of it as a civics lesson instead of a story, that they squeeze all the life out of it.
  22. The Predator
    In his effort to inject fresh blood into this gory franchise, which has already seen four sequels (including two “Alien” crossovers), the filmmaker can’t seem to summon up that old Black magic.
  23. We're No Angels
    This We're No Angels isn't funny and it isn't smart -- it's a dumb show, almost literally, in fact. So few lines have been written for these actors that you almost believe that the script intentionally parodies their renowned inarticulateness.
  24. Outland
    The conventions that worked for High Noon break down in the high-tech atmosphere of Outland and the story seems trite and dinky. [23 May 1981, p.C6]
    • Washington Post
  25. We the Party
    With the raunch of "American Pie" and the heart of an after-school special, the comedy turns out to be a lot less than the sum of its parts.
  26. Hello Mary Lou: Prom Night II
    Hello Mary Lou: Prom Night II may be derivative, but for the most part it's clever enough to trade on its sources with humor and class. It's "Peggy Sue Lives on Elm Street," with dollops of "Carrie," "The Exorcist" and a half dozen other genre stalwarts.
  27. Sherlock Holmes: A Game of Shadows
    This sequel is just as profligate as its 2009 predecessor with explosions, anachronisms and quick cuts. But the dialogue is a little sharper, and Holmes gets a worthy opponent in Professor Moriarty.
  28. Switch
    If it's subtle, insightful satire you're after, don't look to this coarse farce. It's simply more vulgar, insidiously homophobic Victor/Victoriana from the sexually confused writer-director.
  29. The Protégé
    The Protege may not rise to the level of art, but like Anna herself, it does demonstrate a mastery of a certain set of skills, however limited.
  30. Timecop
    Timecop is good dumb fun, but it's likely to receive the same sentence most Van Damme projects do: a few weeks in movie theaters and eternity on video store shelves and cable television.
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