Washington Post's Scores

For 7,954 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Under the Sand
Lowest review score: 0 Orphan
Score distribution:
7954 movie reviews
    • 57 Metascore
    • 40 Critic Score
    Unfortunately, Up In Smoke winds up as a hapless attempt to wrap a few very funny Cheech and Chong routines around a tired plot of counter-culture cliches. [6 Oct 1978, p.19]
    • Washington Post
  1. That's the problem with The Sure Thing. All the good lines are given to Cusack -- he's always "on," narrating his own life in the revved-up spiel of a sports announcer. For Cusack's Gib, life is performance -- his long quill of a nose even seems to look for his audience's ticklish spots. But why would he bother with Alison? Screenwriters Steven L. Bloom and Jonathan Roberts have sketched her as an annoying scold, leaving Zuniga little to do but bray disapproval at everything. [4 Mar 1985, p.B3]
    • Washington Post
  2. And while it's intermittently engaging, the drama's flatter than a sucker's wallet.
  3. Too bad the filmmakers -- and here's where the American part comes in -- decided the movie had to have some heart, too.
    • 58 Metascore
    • 40 Critic Score
    It is slightly disconcerting to realize that this pleasant but lightweight movie was produced, directed and written by Peter Weir. This means Touchstone Pictures didn't throw this the Australian director's way; he came up with it himself.
  4. Andre Benjamin, Woody Harrelson, Maura Tierney and David Koechner -- all talented -- seem amazingly zombie-like here. And Jackie Earle Haley, as a stoner fan of the Tropics, is more disconcerting than funny.
  5. Tasteless and without redeeming social value, and also dank with the stench of decomposition masked by not enough formaldehyde, Nightwatch is the best kind of movie pleasure, a completely guilty one. [17 Apr 1998]
    • Washington Post
  6. A yawn and most unforgivably features some appalling arrangements of the Beatles' best-loved songs.
  7. I suggest you RSVP in the negative to this "Wedding" invitation, unless you consider yourself a friend of the obvious bride to be, Ms. Lopez. But even then, you'll have to focus on her presence, rather than the silly ceremony around her.
  8. Cletis Tout is both in love with and able to laugh at the conventions it adopts, which is exactly where it goes wrong. It's just a little too self-satisfied.
  9. While disaster yarns aren't known for subtlety, there are limits, and Volcano giddily goes beyond them.
  10. Desperately Seeking Susan is just a woman's version of The Woman in Red, where Gene Wilder chased Kelly Le Brock because she was great looking and rich and he had the middle-class blues. The only difference is that Wilder felt guilty about it.
  11. A movie that jumps between two worlds can be a powerful experience, as any fan of "The Wizard of Oz," "Back to the Future" or "The Terminator" can tell you. But this phoned-in epic is simply a celebration of the inauthentic.
  12. Tucker came up with a classic, but poor Coppola has turned a great American tragedy into a gas-guzzling human comedy
  13. The movie's too slick and obvious about its intentions.
    • 49 Metascore
    • 40 Critic Score
    An opportunity for an unusual film about teen-agers was thrown away, in Taps, in favor of what its own screenplay characterizes as a cinematic stereotype. [18 Dec 1981, p.21]
    • Washington Post
  14. For the most part, the movie's a bland disappointment, on many levels.
  15. The movie is full of invasions, assassination attempts, chases and escapes in seemingly random order, the result being completely chaotic.
  16. Enjoyable in some places, but dreadful in others. It's boring here and exciting there. And it's almost always goofy.
  17. We know the story will conclude with a crescendo of frozen-north hallelujahs. Cheering is endemic to Disney. They can't help themselves.
  18. The premise -- a roundelay of New Yorkers looking for connection, or to escape it -- feels tired, and Mitchell's portrayal of sex as the ultimate vehicle for transcendence, self-knowledge and healing, while conveyed with authentic sweetness, seems shockingly naive.
  19. 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.
    • 46 Metascore
    • 40 Critic Score
    Despite his occasional witticisms, the old grump is no great catch, and neither is this movie.
    • 61 Metascore
    • 40 Critic Score
    A boring, choppy dramedy.
  20. Afterglow is a lazy river of a movie that chooses beauty over sense and rhythm over reason. It goes nowhere slowly. [16Jan1998 Pg B.06]
    • Washington Post
  21. Too busy trying to make remarks to be much fun in the end. But it really only has one remark, which it reiterates about a thousand times, and it's not all that remarkable: Fame is overrated.
  22. The plot becomes so overextended, as Reeves and Hopper wage their endless public transportation battle, even the hardest Die-Harders will consider leaping off way before the final stop.
  23. Isn't appropriate for any innocent child -- assuming such lovely creatures still exist. But boys and girls who enjoy surprise attacks in their entertainment (of the aforementioned toilet variety) are going to have a blast. Sad but true.
  24. The performances are so monotonic that you understand depicting authentic humanity is not the writer-director's goal: Each character has been reduced to a single unpleasant primal trait from which deviation is not permitted.
    • 38 Metascore
    • 40 Critic Score
    Sleepwalkers is badly plotted and unimaginatively conceived, though not without a number of seat-squirming scenes.

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