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. Two Brothers
    The story, which features an apparently lobotomized Guy Pearce as an opportunistic explorer and hunter who learns the errors of his ways, is deeply dull.
  2. Blade: Trinity
    The movie is loud, dark, bumpy and not even a little fun. You emerge into daylight bruised and battered, suffering a case of movie abuse.
  3. Meet the Fockers
    The cast is too good for the script and the script is too good for the director and the director is too good for the horny dog jokes.
  4. Citizen Ruth
    The film degenerates into an overly simplistic satire -- with moon-worshiping, Guatemala-visiting, lesbian aborters on one side, and fetally obsessive, meat-eating, gun-toting Jesus worshipers on the other.
  5. Sleepers
    Recalls those corny Warner Bros. movies about Dead End Kids.
  6. I Shot Andy Warhol
    Obstreperous, male-bashing pain in the patoot.
  7. Mission: Impossible
    Humorless, charmless and flat.
  8. U Turn
    The film has no discipline, but that's okay because it has no suspense, either.
  9. Feeling Minnesota
    Annoying.
  10. Things to Do in Denver When You're Dead
    An overwrought gangster fable.
  11. Billy Madison
    A more kid-friendly version of "Dumb and Dumber." And there's even a moral: "Yahoo for education," though the movie doesn't really put any muscle behind it.
  12. The Rock
    If, at odd moments, The Rock is better than tolerable, it is usually because of its stars.
  13. Event Horizon
    The movie is very loud. It is pointlessly loud, arbitrarily loud, assaultively loud.
  14. Flubber
    Let's blame it on poor Robin Williams, who tries so desperately to be likable, whimsical, lovable, smart and funny all at once that he just wears you out. Blame it also on the behind-the-scenes engineers at Disney who think that effects are more important than story and character.
  15. Spawn
    The nonsensical screenplay can barely stand-up to the hellzapoppin, Beelzebubbin effects mustered by first-time director Mark Dippe.
  16. A Time to Kill
    There's no question the movie's entertaining. But the blatantly schematic depictions of black and white, liberal and hawk, and other tiresome dichotomies turn A Time to Kill into the moral equivalent of a cockfight.
  17. Jumanji
    The script boasts more writers than the computerized menagerie's got megabytes, but they haven't come up with much variety or humor in what is essentially a string of catastrophes.
  18. Pocahontas
    There's a sense of mystery in this purply palette and one of majesty in the landscapes, but the drama of the drawings is never really echoed by the skimpy and predictable story.
  19. The First Wives Club
    For all their sass, brass and bewitchery, the starring troika can't breathe life into these characters, much less transform them from women scorned into hellbent furies.
  20. Phenomenon
    Still, well-intentioned sappiness is something we can deal with; the lack of any genuine dramatic conflict is a more damaging shortcoming.
  21. The Crossing Guard
    Penn, who also wrote the script, burdens the story with so many self-indulgent side developments that he loses emotional drive and Freddy's desperate obsession gets lost in the shuffle.
  22. Congo
    As if aware that Congo is the least interesting adventure ever filmed, screenwriter John Patrick Shanley (who once wrote a funny movie called "Moonstruck") tries to inoculate the activities with humor.
  23. Interview with the Vampire: The Vampire Chronicles
    Passionately anticipated and much ballyhooed, the film, alas, is little more than a foppish, fang de siecle costume drama. Its pulse barely registers.
  24. Cliffhanger
    It's an eroticism of nastiness -- triple-X fare for dirty old men in raincoats. If you resist this sleazy gorefest, you'll be right to feel proud of yourself.
  25. The Pelican Brief
    A brightly wrapped, ketchup-drenched mush-burger, it slides down the Zeitgeist esophagus like a slippery McPelican. You pay, you swallow, you drive home. You're left with nothing except, possibly, heartburn.
  26. Boys on the Side
    Roos and director Herbert Ross pave the long and grinding road to self-fulfillment with miles and miles of counterfeit poignancy.
  27. Rob Roy
    Writer Alan Sharp gets so caught up in the legend and the lush language that he doesn't seem to know he's written "Death Wish" in kilts.
    • 66 Metascore
    • 30 Critic Score
    American Me
    This solo project by first-time producer/director Edward James Olmos makes itself out to be hard-hitting, social commentary. But it's too longwinded and cliched to deserve that description. [13 Mar 1992, p. N47]
    • Washington Post
    • 68 Metascore
    • 30 Critic Score
    Jude
    Director Michael Winterbottom languidly unspools the story; nothing seems to lead to anything.
    • 53 Metascore
    • 30 Critic Score
    The Hudsucker Proxy
    Another ultra-stylized movie-about-movies by the Cannes-winning Coen Brothers, Hudsucker is clever but cold, a heartless mechanical gizmo. The actors rattle around tinnily like shiny marbles inside its cavernous sets and hollow script.
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