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. Harry Potter and the Prisoner of Azkaban
    Put delicately, this is one long sit, made all the more so by a turgid story, a dour visual palette and uninspiring action.
  2. Love Actually
    If listing the cast of Love Actually is exhausting, it's even more tiring to watch it.
    • 24 Metascore
    • 40 Critic Score
    Kazaam
    Alas, the movie's producers could use a genie of their own. Surely, if granted three wishes, they could have produced a better film.
  4. I Shot Andy Warhol
    Feels so slight and pointless.
  5. Volcano
    While disaster yarns aren't known for subtlety, there are limits, and Volcano giddily goes beyond them.
    • 54 Metascore
    • 40 Critic Score
    U Turn
    U-Turn is, for a while, darkly amusing. But along comes the second hour, which insults you for even partially succumbing to the first.
  7. Murder at 1600
    The best thing about Murder at 1600? Speed of exposition. Directed by Dwight Little, who made Steven Seagalís "Marked for Death," this thing whizzes from one unbelievable story point to the next. Your suspension of disbelief appreciates the momentum, if nothing else.
  8. The Jackal
    The Jackal is based on a fabrication so absurd that it almost made me laugh out loud.
  9. The Rock
    A violence-intoxicated, far-fetched, morally corrupt drama.
  10. Afterglow
    Afterglow is a lazy river of a movie that chooses beauty over sense and rhythm over reason. It goes nowhere slowly. [16Jan1998 Pg B.06]
    • Washington Post
  11. Mad City
    It's a movie of great dynamism and energy, but very little discipline. It probes issues but it never really thinks about them. It seems smart, but it's dumb.
  12. Paradise Road
    A queasy union of savagery and uplift, the film ought to be unnerving. Instead, it finally becomes routine. [18Apr1997 Pg. C.07]
    • Washington Post
  13. Jumanji
    Williams is hardly at his comically inventive best. And the script (adapted by Chris Van Allsburg, and a string of others, from his book) pursues the least exciting avenues possible.
    • 50 Metascore
    • 40 Critic Score
    101 Dalmatians
    Annoyingly, the movie is marred by anemic connecting scenes and a seeming disdain for something as simple as logic
  15. Phenomenon
    While Phenomenon attempts, tritely, to ascend into mind-blowing significance, it also plummets into a pit of sentimental mush.
  16. Stealing Beauty
    For those who simply want to drink in the northern Italian countryside and Tyler's physical details, it's quite an experience. But as a story, Stealing Beauty (which Bertolucci wrote with Susan Minot) is a misbegotten, sentimental reunion with old European cinema.
    • 67 Metascore
    • 40 Critic Score
    While You Were Sleeping
    A wobbly romantic comedy, Sleeping plays its romantic elements just right, but badly botches the comedy.
  18. Dangerous Minds
    The film fleetingly touches on the underfunding of schools and other administrative problems as well as the more compelling personal issues of teen pregnancy and violence. But the characters are so poorly drawn and underdeveloped that they seem to be little more than personifications of these societal ills.
  19. Dead Man
    Bad movies have a way of writing their own epitaphs.
  20. Congo
    Even with these high-end artists on the team, though, the movie seems thin.
  21. Cliffhanger
    He's slightly more articulate than usual, but the lines still fall from his lips like beaten boxers to the mat. Not that it much matters, given the constant mayhem.
  22. In the Line of Fire
    Working from the script by Jeff Maguire, director Wolfgang Petersen ("Das Boot") plods through the narrative as if he were completely unconcerned with giving it even a semblance of credibility.
  23. Indecent Proposal
    He's obsessed with the physical details instead of the human emotions. The actors are really just part of the scenery.
  24. Speed
    The plot becomes so overextended, as Reeves and Hopper wage their endless public transportation battle, even the hardest Die-Harders will consider leaping off way before the final stop.
  25. The Long Kiss Goodnight
    Unfortunately, the filmmaking couple take the fetishistic masquerade far too seriously. They may describe it as a "departure" from traditional fare, but it's simply the same old action-packed guff.
  26. Romeo + Juliet
    The movie, a frenetic, explosive experience full of car crashes and gun battles, is original and exhilarating. But more often, it's so overwhelming, it'll make you want to watch "Die Hard With a Vengeance" for peace and quiet.
  27. Rumble in the Bronx
    With his mop-top cut and silly grin, Chan cuts an amiable figure, but while this film may confirm his skills and appeal to those already familiar with his better work, it's not likely to convert anyone else.
  28. Mrs. Winterbourne
    Ricki Lake makes an appealing, though unlikely, fairy tale heroine in the derivative romance Mrs. Winterbourne: If only this stale trifle didn't call for the bewitching or pixilating, for the abracadabra of a Bullock or a Pfeiffer. For a Cinderella story, it's sorely without magic.
    • 46 Metascore
    • 40 Critic Score
    Grumpier Old Men
    Despite his occasional witticisms, the old grump is no great catch, and neither is this movie.
    • 53 Metascore
    • 40 Critic Score
    White Squall
    Todd Robinson's script, alas, drags White Squall down. As directed by Ridley Scott, with a surplus of intrusive music and some manic overacting, the movie dips into cliches. [02 Feb 1996]
    • Washington Post
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