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. ShowBusiness: The Road to Broadway
    ShowBusiness is not so clever nor so entertaining as the popular musical "A Chorus Line," which plied this territory more than 30 years ago, but it does go deeper into the mechanics of the business.
  2. Love & Basketball
    This one has crossover hit written all over it.
  3. Breaker Morant
    To present a simple progression from crime to trial to death, when a moral dilemma was promised, is a dramatic crime. [01 May 1981, p.19]
    • Washington Post
    • 73 Metascore
    • 60 Critic Score
    Thirst
    Thirst is good, insolent fun for about two-thirds of the way, before it stumbles and drowns in a pool of its own excess. Still, you can't help but admire a horror movie that prompts us to wonder how vampires with a surplus of blood got by before the advent of Tupperware.
  5. Notes on a Scandal
    I can't remember a film that sees the here and now more precisely, one that offers total believability in the tone and motive of its characters and then goes further, showing us a whole and completely recognizable world.
  6. The Dig
    Gradually, and with the methodical patience of someone unearthing buried treasure with a tiny brush, The Dig reveals itself to be a story of love and estrangement, of things lost and longed for, of life and death — of what lasts and what doesn’t.
  7. Clueless
    Ultimately, [Heckerling's] portrait is affectionate and, in places, even sweet, enabling us to laugh at them and embrace them at the same time.
  8. The Blue Room
    As a storyteller, Amalric is a master of manipulation, first leading the audience in one direction and then another. The Blue Room is a hall of mirrors, reflecting every detail but making it hard to know where you stand.
    • 73 Metascore
    • 80 Critic Score
    Amreeka
    Abetted by an observant cast, she (Dabis) navigates across politically and emotionally fraught terrain with a warming inflection of humor and a mother-hen's attention to the needs of all of her characters.
  10. CODA
    You’ll laugh, all right. You’ll cry. You’ll do both at the same time. CODA is just that kind of movie. And thank goodness for it.
  11. Polyester
    The new film, a fitfully amusing and perfectly harmless spoof of the morbid and masochistic cliches that sustain the typical soap opera, represents a mellow, spruced-up turn toward the mainstream. [06 Jul 1981, p.C3]
    • Washington Post
  12. Fire Island
    Actor and screenwriter Joel Kim Booster gives Jane Austen a brisk, lighthearted refresh in Fire Island, a hedonistic — but disarmingly sincere — ode to the eponymous gay vacation spot.
  13. Bros
    Like any successful comedy — or movie, for that matter — “Bros” succeeds in its specificity: in this case, gay life and culture that are brimming with foibles, contradictions, triumphs and failures just waiting to be mined for comic gold.
    • 72 Metascore
    • 88 Critic Score
    Roald Dahl's Matilda The Musical
    Matilda...explodes with an exhilarating pleasure in filmic transformation, in harnessing the strength of one medium and regenerating it freshly in another.
  15. Stevie
    By the film's self-congratulatory final shot, Stevie has become less a portrait of a sorry young man's difficult life than the story of auteurist arrogance and self-deception run amok.
  16. A Song for Martin
    August, who also made "Pelle the Conqueror" and "House of the Spirits," steers this story to its stirring conclusion with firm lack of sentimentality.
  17. Road to Perdition
    There's something impressive and yet lacking about everything.
  18. Broadway: The Golden Age, by the Legends Who Were There
    If you love the theater, you've got to see the film.
  19. Ammonite
    Rather than a movie that breaks the mold, it looks like Anning has inspired one we've seen before.
  20. Climates
    We realize that this romance, like the beautiful land, is doomed almost inevitably to earthquake fissures, to irreversible change. But rather than making us despondent, Climates leaves us peacefully philosophical.
  21. Skate Kitchen
    The result is a movie that feels both hard-edged and dreamy; punk-rock and lyrical; wised-up and unbearably tender.
  22. Gone Baby Gone
    The movie is taut, fast, achingly authentic and terribly melancholy.
  23. The Insult
    The performances remain subtly powerful, especially Karam’s. Tony is a man whose unpredictable rage can be sparked by one wrong move, but Karam infuses the character with pathos through the subtlest gestures and facial expressions. El Basha, who is also moving in his role, was the first Palestinian to win best actor at the Venice Film Festival.
  24. Fremont
    Fremont has the demeanor of a kitchen-sink drama but is laced with deadpan absurdism.
    • 72 Metascore
    • 50 Critic Score
    Where Is Kyra?
    At just over 1 ½ hours, the film feels painfully long, paralyzed by a numbing bleakness. That’s not only the result of the protagonist’s downward trajectory, but also of cinematographer Bradford Young’s long, plodding shots, which only call attention to the visually hollow landscape.
  26. Magic Mike
    It's a nicely balanced blend of comedy, drama and athletic dancing that plies its trade with winking, unforced self-assurance.
  27. The Adventures of Milo and Otis
    They don't come any cuter than The Adventures of Milo and Otis, a heartwarming, tail-thumping story about a curious kitten and his pug-nosed puppy pal. It's totally awwwwww-some.
  28. Straight Outta Compton
    Straight Outta Compton reminds viewers not only who N.W.A. were and what they meant, but also why they mattered — and still do.
  29. Tale of Tales
    Garrone has created a world of both rich and ugly textures — visual, narrative and imaginative — that transports, delights and imparts disturbing lessons.
    • 72 Metascore
    • 63 Reviewed by
      Ty Burr
    Juror #2
    Eastwood was never much of a cinematic stylist to begin with, and this film in particular has the dull, proficient sheen of a TV movie.
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