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. Enemy of the State
    The dazzle doesn't make up, however, for the movie's lack of depth.
  2. Meet Joe Black
    Meet Joe Black, with Brad Pitt, is a near-death experience: Time seems to stop as we stiffen in our seats and the actors all whisper as if they're at a wake.
  3. I Still Know What You Did Last Summer
    More in the dumb and dumber tradition of "Halloween" and "Friday the 13th" sequels.
  4. Velvet Goldmine
    In trying to compose a poetic love letter to a time of liberation and freedom, Haynes has merely conjured up memories of druggy excess, egotism and tight trousers. The only mementos worth saving from the experience are available on the soundtrack.
  5. The Siege
    Most of the fault rests with the script, which gets to this issue late and feels only perfunctory, more interested in the jolt of the image than the jolt of the idea.
  6. The Waterboy
    Another film about . . . a cretinous, grating loser.
  7. Elizabeth
    Where Elizabeth really triumphs over its dusty source material is in transforming all this boring history into a real, rip-roaring adventure tale.
  8. Gods and Monsters
    Eminently watchable thanks to strong performances from its three leads (McKellen, Redgrave, Fraser).
  9. Living Out Loud
    What little grace there is in Living Out Loud (and there isn't much) is all in LaGravenese's script, not on the screen.
  10. American History X
    A mousy little nothing of a picture.
  11. Life Is Beautiful
    While it celebrates the triumph of humor, invention and the human spirit, Life Is Beautiful is not the transporting experience it might have been. Benigni knows how to make us laugh, but he has not yet figured out how to make us cry.
  12. Pleasantville
    Lacks the edge and depth of a truly inspired work.
  13. Apt Pupil
    Ultimately the movie disintegrates due to its own clumsiness. It's far too coincidence-driven to be believable.
    • 85 Metascore
    • 50 Critic Score
    The Last Days
    But for the most part, The Last Days fails to play as a document of the survivors' lives, or even as their memory of that time. Rather, it feels removed, distant, a document of an attempt to re-create a memory.
  15. Happiness
    It lacks Altman's wisdom, but its sense of humor is corrosive, if dispiriting, and its willingness to show the human animal at his most disgusting has a kind of anti-grandeur to it.
  16. Beloved
    Powerful, depressing and very, very long. At close to three hours, it virtually enslaves an audience, which may be part of the point.
  17. Practical Magic
    Director Griffin Dunne lacks a clear vision, torn between blithe spirits and brimstone, between madcap and macabre. But then what does it matter when there's so little magic on screen anyhow? That is unless you count making audiences disappear.
  18. Holy Man
    There just aren't many laughs in this slack dramedy, and what yuks there are are fairly low-wattage.
  19. Slam
    Director Marc Levin's shaky, hand-held camera lends "Slam" an unvarnished, documentary feel. The script – credited not only to Levin, Bonz Malone and Richard Stratton, but to acclaimed performance poets Sohn and Williams – is dense and difficult.
  20. What Dreams May Come
    Directed by Vincent ("A Map of the Human Heart") Ward, who is either a genius or a crackpot, and derived from a long-ago novel by Richard Matheson, the film is overproduced and underpopulated, with either characters or ideas.
  21. A Night at the Roxbury
    I will admit that this TV skit stretched out to a filament-thin 83 minutes is idiotic, but I mean that in a good way.
  22. Antz
    Sorry, Antz has no show-stopping song and dance numbers, no catchy melodies and no love songs either. The score, made up of old standards, does, however, enhance one of the movie's wittier episodes.
  23. Clay Pigeons
    Upon this fine mess shines Janeane Garofalo like a ray of sarcastic sunlight as FBI agent Shelby...With her gift for sweet bile, the sardonic Garofalo makes every second on screen a treasure to be cherished.
  24. Ronin
    Although laced with adrenaline and flavored with noirish seasoning, John Frankenheimer's Ronin is a disappointingly conventional thriller.
  25. Urban Legend
    It's no worse than any number of other cookie-cutter slasher flicks geared for the slightly post-pubescent market.
  26. Pecker
    It's also sweet, sentimental, rather funny and, as John Waters films go, surprisingly gentle.
  27. Monument Ave.
    Monument Ave. is a cinematic dead-end street that is not without its gloomy, gritty thrills -- assuming, that is, that you're not in the market for a hero or even the slightest feather of that thing called hope. [09 Oct 1998, Pg.N.49]
    • Washington Post
  28. One True Thing
    Admirably restrained melodrama.
  29. Rush Hour
    A misbegotten marriage of sweet and sour.
  30. A Soldier's Daughter Never Cries
    The events of the movie are filament-thin and insubstantial but, like fine silk threads, they weave together a fabric of surpassing warmth and texture. [25 Sep 1998, Pg.N.63]
    • Washington Post
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