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. Ballet 422
    For fans of dance, Ballet 422 will produce plenty of pleasures. But as with great ballet, great movies always benefit from a little drama.
  2. In My Father's House
    In My Father’s House offers lots of interesting raw material, but it could use a disinterested observer’s remix.
  3. After Tiller
    After Tiller does viewers the great service of providing light where there’s usually only heat, giving a human face and heart to what previously might have been an abstract issue or quickly scanned news item.
  4. Lost in Paris
    Quirky to a fault, the film’s most absurd moments are nevertheless grounded by the human need for connection.
  5. Flame and Citron
    Like "Butch Cassidy and the Sundance Kid," Flame and Citron is the story of handsome rogues with guns. It's fast-paced, stylish and thrilling.
  6. After Auschwitz
    After Auschwitz also addresses more mundane subjects as well: making a wedding dress from leftover parachute silk, emigrating to America, finding jobs, buying cars, registering to vote. The smallest things become imbued with an importance out of proportion to their significance to the rest of us.
  7. Sully
    Sully is a classy, enormously satisfying ode to simple competence. To paraphrase the title character, it’s just a movie doing its job. And amen to that.
  8. Go
    The latest furiously paced, perversely entertaining "Pulp Fiction" for puppies.
    • 74 Metascore
    • 80 Critic Score
    Dressed to Kill
    Dressed to Kill is a witty blend of suspense and humor, a skillful manipulation of basic nightmare ingredients that leaves one limp, amused and always impressed. It's an achievement particularly noteworthy in contrast to the Grade-Z "horror" movies that have been cluttering up the screens lately. [25 July 1980, p.17]
    • Washington Post
  10. Into the Abyss
    A shapeless collection of encounters with Texas prison inmates and their victims, what could have been a well-aimed examination of the most troubling contradictions of capital punishment instead becomes a maudlin, unrestrained wallow.
  11. Interstellar
    Interstellar tries so hard to be so many things that it winds up shrinking into itself, much like one of the collapsed stars Coop hurtles past on his way to new worlds. For a movie about transcending all manner of dimensions, “Interstellar” ultimately falls surprisingly flat.
  12. Harry Benson: Shoot First
    Overall, “Shoot First” is a breezy look at a professional whose work remains endearing, despite some highfalutin claims.
  13. Bridge to Terabithia
    The news is good for Bridge to Terabithia fans. The beloved children's book has not just survived but thrived in its adaptation to the screen.
  14. The Attack
    On one level, The Attack is a mystery, but not the kind you think. It’s obvious from the start who detonated the bomb; the only question is why. It’s a question that probably cannot be answered to the satisfaction of anyone living outside Israel or the occupied territories.
  15. The Heart of the Game
    Combines nonstop action with an absorbing story to become a classic on par with "Hoosiers" and "Hoop Dreams."
  16. Scrapper
    Regan directs Scrapper with exceptional verve, interrupting the narrative with witty documentarylike asides whose framing evokes the poppy aesthetic of Wes Anderson.
  17. Hollywood Shuffle
    The film has some clumsy scenes, and sometimes the director overcrowds his comedy. The remarkable thing, however, is that for a mere $100,000, Townsend and company have made a funny, poignant and technically proficient film -- one that should thoroughly embarrass those studios that routinely offer up badly made, multimillion-dollar disasters.
  18. The New Girlfriend
    In Ozon’s confident hands, The New Girlfriend has moments that juxtapose gentle humor and surprising depth of feeling.
  19. The Dish
    Simple fare, a feel-good movie that re-creates a time and place with gentle humor and a reminder that the Aussies have the right stuff, too.
  20. The Hurricane
    Brilliantly played by Denzel Washington
  21. Billy Elliot
    It orders you to love it. It demands love, which is the best way not to get it.
  22. An Oversimplification of Her Beauty
    The film is complex and bold, sometimes even exhilarating. It can also be frustratingly esoteric.
  23. Blood on the Mountain
    By observing the struggle of the miner with a mix of resignation and resolve, the movie hints that this struggle is the struggle of every worker.
  24. The Rescuers
    One of the most rousing and appealing animated features ever made by the Disney studio. [24 June 1977, p.B1]
    • Washington Post
    • 74 Metascore
    • 75 Critic Score
    Joy Ride
    Joy Ride is a heartwarming film about identity and friendship wrapped in a package of penis jokes. The directorial debut of Adele Lim, a co-writer of “Crazy Rich Asians,” applies “Bridesmaids” humor to a story that is surprisingly genuine and full of richly developed relationships.
  26. Kung Fu Panda
    Infectious and inspiring, despite one's best efforts to resist its charms.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    40 Acres
    This is a movie to see and a director to watch.
  28. Crazy Rich Asians
    Like the finest forebears of the rom-com genre — including its urtext, “Four Weddings and a Funeral” — Crazy Rich Asians indulges in the escapist pleasures of aspirational wealth, obscene consumerism and invidious judge-iness.
  29. In Order of Disappearance
    At times, In Order of Disappearance is a bit too self-consciously clever. But what saves it, paradoxically — even, at times, delightfully — from skidding off course into cliche is the profound appeal of its middle-of-the-road, but never dull, protagonist.
  30. The Duke
    The Duke, based on the 1961 theft of Francisco de Goya’s portrait of the Duke of Wellington from the National Gallery in London, features delightful performances by Jim Broadbent and Helen Mirren, both of whom help ground this strenuously heartwarming film in something a little more solid than the ether in which it otherwise seems to be set.
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