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. Jack
    When a master dedicates his genius to the production of schmaltz, it's not a pretty sight.
  2. Escape from L.A.
    Compared to Escape From New York, the weapons are bigger and the violence is more extensive, although it’s toned down by today’s excessive standards. There are also greater special effects this time, involving holograms and nuclear-powered submarines. But Escape From L.A. is more enjoyable in a playful way.
    • 46 Metascore
    • 30 Critic Score
    Flirt
    The stories are markedly different, but the acting seems remote and hollow, as if no one believes in what they're doing. [18 Oct 1996]
    • Washington Post
  4. Emma
    Director McGrath retains the novel's highlights, but he slices everything to ribbons.
    • 72 Metascore
    • 70 Critic Score
    Matilda
    Matilda, the funny new children's film directed by and starring Danny DeVito, takes that alter-family and creates a real-life fairy tale. Frequent use of vibrant colors like magenta and chartreuse, combined with unflattering camera angles and bizarre characters, give the action an unreal quality, like the land of Oz. [02 Aug 1996, p.B01]
    • Washington Post
    • 43 Metascore
    • 30 Critic Score
    Chain Reaction
    Plodding and predictable, and a big disappointment.
  7. A Time to Kill
    In his screen version, Schumacher does a flamboyant job of staging the book without showing the slightest interest in what it's about. Granted, Grisham's original is no masterpiece; it's beach reading, but it deserves credit for addressing its subject with some conviction and integrity.
  8. Trainspotting
    The story, such as it is, follows Renton's inconsistent attempts to kick his habit.
    • 52 Metascore
    • 50 Critic Score
    The Frighteners
    Ponderously cliched and predictable. [19 July 1996, p.N33]
    • Washington Post
  10. Walking and Talking
    Writer-director Nicole Holofcener's earnest first feature is a low-budget comedy drawn from the pages of her own dear diary. Most women have sense enough to burn theirs.
  11. Multiplicity
    Director Harold Ramis, who managed to stop time in the sunny comic masterpiece "Groundhog Day," tries a different tack in this lesser though nonetheless hilarious caper.
  12. Independence Day
    An overgrown hybrid of disaster epic, can-do combat adventure and '50s sci-fi movie, this craft has visited our world many times before. And while she's a beaut, the sticker on her titanium bumper reads: "Been There, Done That, Beam Me Up, Scotty."
  13. Phenomenon
    Still, well-intentioned sappiness is something we can deal with; the lack of any genuine dramatic conflict is a more damaging shortcoming.
  14. The Nutty Professor
    Murphy owes much of his success to the amazing special-effects makeup by Rick Baker ("An American Werewolf in London"), but he brings a tenderness and dignity to the performance that he has never shown before.
  15. Striptease
    A sexless seriocomedy that would be a bust without the support of Burt Reynolds and Ving Rhames. The pair bring a much-needed lift to this tale of a mother at the mercy of the system. Without them, the movie is mostly a showcase for the star's personal trainer.
  16. Lone Star
    Why ... does it feel so lifeless?
    • Washington Post
  17. Eraser
    The hero's feats are implausible even by action standards, but screenwriters Tony Puryear and Walon Green have concocted one of the summer's most spectacular action sequences.
    • 74 Metascore
    • 63 Critic Score
    The Hunchback of Notre Dame
    Disney has created a movie that, like Quasimodo himself, is half formed.
  19. Stealing Beauty
    For those who simply want to drink in the northern Italian countryside and Tyler's physical details, it's quite an experience. But as a story, Stealing Beauty (which Bertolucci wrote with Susan Minot) is a misbegotten, sentimental reunion with old European cinema.
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