Washington Post's Scores

For 7,486 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Tadpole
Lowest review score: 0 Tammy
Score distribution:
7486 movie reviews
  1. Unfortunately, Harrer's inner struggle isn't as grand as the sweep of Jean-Jacques Annaud's direction.
  2. Afterglow may not bestow Julie Christie with the hip imprimatur of a Travolta-style comeback. But the British actress coyly and elegantly updates the siren-ish presence she exuded in "Darling," "Far From the Madding Crowd," "Petulia," "The Go-Between" and even "Shampoo." [16Jan1998 Pg N.32]
    • Washington Post
  3. May be one hundred percent sap, but its spirit is anything but cloying, thanks to persuasive performances, most notably from Rachel McAdams.
  4. Bridges can't be a whole movie. But he's the main reason to watch.
  5. Although "Pluto" has a rollicky, endearing air, it's cooler than Jordan's other films.
  6. Obviously, this was just meant to be a fun experience. But the movie fulfills those duties on the most mundane level. You have to treat Space Jam like that well-known fast-food Jordan loves to promote: It doesn’t matter how the movie is prepared, only that it’s served and ready to go.
  7. Had The Cooler stuck to its dark guns and not turned into a treacly, love-conquers-all fairy tale, this movie might have gone somewhere. In the end, you're only watching this with a sort of mercenary interest in the actors.
  8. There are no dramatic peaks and valleys in this story line, just a uniform, dramatic flatness.
  9. If these repugnant people were really your friends and neighbors, your time would be more profitably spent reading the real estate listings than the movie reviews. But for 1 1/2 hours in a darkened theater, the derailment of their unhealthy emotions makes for one compulsively watchable train wreck.
  10. Makes for interesting, rather than emotionally compelling viewing.
    • 78 Metascore
    • 60 Critic Score
    You'll leave Bird's smooth flow of nightclub images, dark motel rooms and recharged Parker tracks with new respect for Eastwood the Director. But you'll also leave none the wiser about Parker the Man.
    • 28 Metascore
    • 60 Critic Score
    The plot doesn't always make sense, despite a thunderous explicatory montage halfway through, but as a fresh setting for terror shenanigans.
  11. You're hard-pressed to dislike the film.
  12. Making a film about mob violence while showing restraint and humanism is a difficult procedure. Singleton and screenwriter Poirier search for some gradations within the white ranks, but for the most part, every cracker's a psycho with a short, smoking fuse.
  13. Like Shepherd's speech, The American President touches on all manner of issues but illumines none of them. And while there are some engaging glimpses of the president's staff in action...the film's principal pleasures lie in the president's pursuit of a first lady.
  14. If you're not rolling in the aisles, you're definitely in the wrong theater.
  15. An uneven, sophomoric and only fitfully funny omnibus of skits, The Ten is one of those silly-on-purpose ensemble exercises that must have been wildly fun to make.
  16. What compels then isn't the overwrought plot, but the simpler things, the dynamics between the actors, the avuncularity between old pros Costner and Hurt and the class condescension between Costner and Cook. It has a fascinatin' rhythm.
  17. It's frenetic to the point of crazy while achieving a mark that barely exceeds mediocre.
  18. American director Jim Sonzero has taken the same campus setting and plot and added some rationale by "science-fictioning" it.
    • 47 Metascore
    • 60 Critic Score
    As a mindless popcorn shootout, Wyatt Earp is highly watchable. But this three-hour drama, starring Kevin Costner as the straight-shooting marshal, takes its time sliding out of the saddle.
  19. The film is visually mannered and full of posing and longueurs. But it is stylish, very French (despite its American origins) and diverting if well short of brilliant.
  20. Good and entertaining fun.
  21. It's the most exaggerated example yet of the abiding imbalance in modernist filmmaking, where an abundance of texture fails to conceal a minimum of substance, although it frequently makes the act of concealment pictorially exciting. [27 Mar 1981, p.C1]
    • Washington Post
  22. Often funny (just listen to Becky fulminate against Harry Potter), but it's also a scary.
  23. Unfolds as a series of meticulous tableaux vivants, but like those parlor pastimes, it lacks physical verve and a compelling emotional charge.
  24. Wuornos was unambiguous about one thing: She wanted to die. In the end, that's the only assurance the movie provides. It's an odd kind of closure for her and for us.
  25. Thanks to screenwriter Alan Sharp's fast-moving scenario featuring a healthy array of rape, pillage, burning, deceit, swordfighting, treachery and murder, it's a watchable hoot.
  26. Sunrise feels more like an absorbing experiment than a supple success.
  27. As Benny (short for Bernadette), a big-boned, headstrong lass who strains winningly against the restrictions of family, religion and just plain growing up, [Driver's] a comedic breath of fresh air, easily the best thing about the movie.

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