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. Catch and Release
    Throughout, Garner retains a permanent grimace, as if persuasive acting can be achieved by contorting cheek muscles and pouting lips. It's not just depressing to watch; it's tiring. We want to tell her to relax -- for our own relief.
  2. The Tempest
    Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.
  3. The Omen
    The remake is directed by another slickster, the Irishman John Moore, who is no deep thinker (as his "Behind Enemy Lines" confirmed) but, like Donner, he's an able hack -- smooth, stylish, clever, soulless and a hoot. And so's his damned movie. And it is damned.
  4. Dad
    Nothing in Dad moves below the surface. When the inevitable tragedies come, they take their expected forms. And because we have at least some susceptibility and human feeling, we give the expected response. What we are responding to, though, is not so much the film as the issues it raises.
  5. Suicide Kings
    The mixture of tension, yuks and horrific violence at times reminds one of nothing more than a poor man's "Pulp Fiction."
  6. The Mexican
    Feels patently inauthentic.
    • 43 Metascore
    • 40 Critic Score
    The Animal
    Let's face it, some people find butt and bathroom comedy funny. And some don't.
  8. Jersey Girl
    The film oozes sentimentality, soap-opera bathos and clumsy cribbings from the Frank Capra book of small-town values. Those are its good points.
  9. Quicksilver
    According to the press kit, "Producer Daniel Melnick's personal stamp on films has always been to avoid the obvious, the cliche'." Uh, Dan . . . you lost your stamp.
  10. Dogs in Space
    This is a movie you can like a lot if you accept that it's not going to approach things in a conventional manner. [22 Jan 1998, p.B7]
    • Washington Post
  11. Fathers' Day
    A lamebrained American remake of the classic, bitter French farce "Les Comperes," Fathers' Day offers sporadic laughs of the lowest kind -- the old outhouse-bites-man thing -- but some conspicuous idiocy as well.
  12. 9 Songs
    9 Songs inadvertently proves just how limited experimentation for its own sake can be.
  13. The Vow
    The romantic drama The Vow looks like the kind of annual Valentine's Day staple that arrives just as calls start flooding flower shops and chocolate bonbon displays invade your local CVS.
  14. Bob Marley: One Love
    Director Reinaldo Marcus Green, who co-wrote the screenplay with Terence Winter, Frank E. Flowers and Zach Baylin, has constructed a work that suffers from the same tunnel vision as other movies of this ilk.
  15. Hot Rod
    Only fitfully amusing. More often, it feels like a mediocre attempt to reprise the central elements of the infinitely funnier "Napoleon Dynamite."
  16. Antebellum
    Even Monáe’s magnetism can't elevate Antebellum above roots that are firmly planted in the blood and soil of pulp exploitation, shaky liberal earnestness and rank opportunism.
  17. The Angry Birds Movie
    After paying good money to take your family to see this film, you may be dealing with some anger-management issues of your own.
    • Washington Post
      • Posted May 19, 2016
  18. Le Chef
    After evoking only warm smiles in its first half, Le Chef ultimately veers into farce.
  19. Equals
    More mood piece than drama, Equals ultimately benefits from the scarcity of exposition, because the story’s details make little sense.
    • 43 Metascore
    • 30 Critic Score
    Chain Reaction
    Plodding and predictable, and a big disappointment.
  21. The Girl in the Spider's Web
    “Spider’s Web” may have its flaws, including a bit of villainous motivation so oversimplified it makes Dr. Evil’s thought processes look like Einstein’s. And yet despite Lisbeth’s makeover, there’s still something cool, complicated and compelling about this “Girl.” Lisbeth may be stuck in a silly movie, but she’s nobody’s victim.
    • 43 Metascore
    • 38 Critic Score
    MacGruber
    For all the wacky, taboo, parodic situations that MacGruber plunges into, the film seems content to simply point at its hero, yell "What a schmuck!" and leave it at that.
  23. The Shaggy Dog
    As a comic actor, Allen's palette is limited to varying degrees of beige. He is not only boring, he's obnoxious and narcissistic. Where's the ASPCA -- the American Society for the Prevention of Cruelty to Audiences -- when you need 'em?
  24. Maleficent: Mistress of Evil
    Think twice about taking very young children — or even some susceptible adults — to this at-times shocking, if less than graphic, gloom-and-doom fest. But the worse sin is: It’s boring.
    • 43 Metascore
    • 60 Critic Score
    X Games 3D: The Movie
    For a quick ticket into the world of extreme sports, the sky-high, adrenaline-gorged stunts captured in X Games will make any spectator gasp, wince and brace with fear.
  26. Light It Up
    Benefits from affecting performances from a gifted cast headed by R&B heartthrob Usher Raymond.
  27. American Pie 2
    This film isn't so much a sequel to the original "American Pie" as a reduction of it.
  28. Anything Else
    The movie doesn't have the energy to be truly horrible. It's too muted and enervated. But it's a somewhat tedious thing to sit through.
  29. The Beach
    Relentlessly beautiful and wholly annoying.
  30. Why Did I Get Married Too?
    Plays like an empty but diverting beach read. Your brain recognizes that the dialogue, for example, doesn't come from any place that remotely resembles relationship reality.
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