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. Underworld
    It needs a wooden stake AND a silver bullet through its script.
    • 42 Metascore
    • 30 Critic Score
    Footloose
    It's depressing to see director Herbert Ross strain to fabricate an atmosphere of urgency around such perfunctory characters, events and crises. A minimal lyric can be finessed by stylish orchestration much easier than a minimal script can be finessed by streamlined composition and emphatic cutting. [18 Feb 1984, p.G1]
    • Washington Post
  3. Transformers: Dark of the Moon
    Dark of the Moon is capable of having a little fun with itself. In one scene, mini-Autobots watch "Star Trek'' on TV, not noticing that Spock has the same voice as Sentinel Prime, the formerly moon-stuck 'bot who's rescued and revived in order to play a major role in this installment.
  4. Strangerland
    It’s hard to get over the movie’s haunting atmosphere. It may be just another story of kids in peril, but this one’s particularly hard to shake.
    • 42 Metascore
    • 88 Critic Score
    Below Her Mouth
    While the frequent sex scenes are graphic, they’re also driven by vulnerability and long-buried desire. In this film, wordless encounters often reveal more about characters than conversation.
  6. Crazy People
    Feeble....Director Tony Bill tries to give Mitch Markowitz's script a spirit of madcap abandon but instead achieves a kind of forced hilarity that's neither funny nor liberating. [11 Apr 1990, p.D4]
    • Washington Post
  7. Leave It to Beaver
    Halfhearted and unsure. They want it both ways and in so doing, don't get it either way. Cute just goes so far. [22 Aug 1997, p.N37]
    • Washington Post
  8. Jungle 2 Jungle
    Disney just doesn't know when to give up on a dead project, which is the only thing that accounts for the studio's scene-for-scene remake of Little Indian, Big City, a French farce the corporation dubbed and released exactly one year ago. (It sank faster than a canoe full of Fantasia hippos.)
  9. The Haunting
    Eugenio Zanetti's set design is wonderful. But the movie isn't enough to make people check the shadows when they leave the theater.
  10. House in the Alley
    There’s nothing sly about writer-director Le-Van Kiet’s scenario.
    • 42 Metascore
    • 63 Critic Score
    The Mountain Men
    In spite of cliches as thick as stars in the sky, the price of admission to "The Mountain Men" may be worth almost as much as one 1830 beaver pelt.
  12. Voice from the Stone
    The film looks handsome and expensive, building up a nice head of suspense before sputtering to a less than wholly satisfying conclusion.
  13. Along Came a Spider
    A corkscrew of a thriller, has more twists than a tarantula with a permanent.
  14. Night at the Museum: Battle of the Smithsonian
    The museum sparkles, but the movie is awfully dull.
    • 42 Metascore
    • 37 Reviewed by
      Hau Chu
    Killerman
    Killerman takes its influences — countless pulpy crime thrillers — and synthesizes them into an increasing rare thing: a movie that doesn’t aspire to any greater heights than where it lands: squarely in the middle of the August dumping ground.
  16. Abraham Lincoln: Vampire Hunter
    Both terribly silly and a lot of fun.
  17. Orphan
    Depraved, worthless piece of filth.
  18. Unsullied
    Unsullied is wholly underwhelming, with atrocious performances and plot twists so implausible that they would be funny in a film less tedious than this.
  19. RoboCop 2
    With its desensitizing blood lust, RoboCop 2 contributes yet another ugly note to this already demoralizing season of sadism. If things continue as they have until now, the body count at the movies may reach into the millions.
  20. Author! Author!
    Eager to seem warmhearted and endearing, Author! Author! is frustrated by Pacino's conspicuous resistance. If anything, this uncharacteristic vehicle illustrates his inability to lighten up an emphatically gloomy, brooding screen presence. [19 Jun 1982, p.C1]
    • Washington Post
    • 42 Metascore
    • 50 Critic Score
    The Last House on the Left
    In the end, like virtually every other remake that has been released recently, it's polished and predictable.
  22. Fire in the Sky
    Essentially, this is a film about humans as victims of alien abuse, a mediocre look at helplessness.
  23. Celsius 41.11: The Temperature at Which the Brain... Begins to Die
    There's really nothing more here than you can find watching dreadful political advertisements and dreadful political talk shows.
  24. High Tension
    Such a bizarre movie that it has completely occupied my thinking for days. Not because it's a good movie, mind you. It's more like the equivalent of a botched tooth extraction with a coat hanger. Some bloody shard remains stuck in an inflamed, fleshy part of my psyche, and it's going to take some serious tugging and tearing to root it out.
  25. Take Me Home Tonight
    If director Michael Dowse took Matt and Tori out of the equation - which is to say, if he took out the main storyline - the whole event could have been a lot more fun.
  26. Bel Ami
    It's just that Pattinson's performance is so enervated that his Georges Duroy comes across as something of a cipher. He's not quite alive, yet also clearly not dead, given the amount of sex he has. He's undead, or at least uninteresting.
  27. Fluke
    This doggy flick, starring Matthew Modine, Nancy Travis, Eric Stoltz and Max Pomeranc, is one of the weirdest, most depressing family films ever made.
  28. Heavyweights
    By the end, the film deteriorates into a combination sensitivity session and pep rally.
  29. Big Daddy
    Dismal. Lame. Not funny.
  30. The Roads Not Taken
    For many, the story will pose an insurmountable challenge to even enjoy. But enjoyment it seems, is not Potter’s point. Yes, it is an unvarnished portrait of a mind breaking into fragments. Yet it is more than that, too.
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