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. 22 Jump Street
    This is a sequel that wears its well-worn formula, mocking inside jokes and gleeful taste for overkill proudly, flying the high-lowbrow flag for audiences that like their comedy just smart enough to be not-too-dumb.
  2. We Are What We Are
    There’s some fun to be had, as long as your idea of fun includes being grossed out.
  3. Birdy
    Some of director Alan Parker's compositions here are striking, expressionistic shots of dark shapes silhouetted against the blue light streaming through the asylum window. Then again, they're all the same -- after two hours, you're bored by them.
  4. Young Adult
    Though marketed as a comedy, this film is too creepy and acerbic to be consistently comic.
    • 71 Metascore
    • 70 Critic Score
    Postcards from the Edge
    But for all the jagged, witty chatter -- and Streep and MacLaine do their tragicomic damnedest with it -- Postcard provides the most rudimentary and jury-rigged of outcomes.
    • 71 Metascore
    • 75 Critic Score
    Winnebago Man
    Entertaining and thoughtful documentary.
    • 71 Metascore
    • 60 Critic Score
    Personal Best
    What lends the movie authenticity is that most of the people in it really are Olympic athletes and record-holders, and they show that they know what they're doing. The second lead, Patrice Donnelly, is a former Olympic hurdler.
  8. Gemini
    The real problem isn’t an overabundance of potential killers. Rather, it’s the fact that the film, from writer-director Aaron Katz (“Land Ho!”), does so little to make you care about the crime, or its victim, that the whole thing feels like an academic exercise.
  9. Singles
    Crowe has said he envisioned "Singles" as a celluloid album, and like an album, one comes away remembering some parts more fondly than others.
  10. Brad's Status
    Brad’s Status contains moments of delicate humor.
  11. The Pledge
    Cares not a whit for such arbitrary concepts as justice, crime or punishment. It understands the relativism of right and wrong and takes a kind of perverse pleasure in reminding us that there are some things we'll never know.
  12. Nicholas Nickleby
    Whether the entire production comes off as classy or cloying depends entirely on the viewer's mood.
  13. Real Women Have Curves
    Handsomely shot by cinematographer Jim Denault, the film immerses the audience in Ana's world, its mosaic of colors and sounds and people, to create a vivid cinematic portrait not only of one girl but of an entire community.
  14. Aileen: Life and Death of a Serial Killer
    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.
  15. The Score
    The best heist flick since "The Usual Suspects," a perfect 10 of a movie.
  16. The Road Home
    A nostalgic paean to China's fading pastoral ways, might easily be taken for an audition tape for Zhang Ziyi.
  17. A Quiet Place Part II
    Like A Quiet Place, Part II is a lean, nearly flab- and gristle-free piece of sci-fi steak.
    • 71 Metascore
    • 70 Critic Score
    Mad Hot Ballroom
    Insightful and endearing documentary.
  19. Mr. Gaga
    Gaga looks like fun, but the soul-revealing “Mr. Gaga” makes clear the sacrifice Naharin’s dedication has exacted from family and dancers alike.
    • 71 Metascore
    • 75 Reviewed by
      Ty Burr
    National Anthem
    National Anthem is that rarity, a genuinely sensual American movie, and in that sensuality it connects its characters to the transcendence and union promised by Emerson, Whitman, Melville and all the rest of our country’s great literary dreamers.
  21. The Girl with the Dragon Tattoo
    The Girl With the Dragon Tattoo may want it both ways, getting its tawdry kicks while tsk-tsking those who deliver them in real life, but Mara's bristling, unbridled performance gives the film the ballast it needs to pull off that curious, undeniably engrossing, balancing act.
  22. The Outpost
    Skillfully directed by Rod Lurie, this engrossing and deeply wrenching thriller dances the same fine line as most latter-day movies that want to honor service and sacrifice, without lapsing into empty triumphalism. For the most part, The Outpost balances those competing impulses, with a canny combination of unadorned bluntness and technical finesse.
  23. The Spanish Prisoner
    The movie's surface of bright, brittle patter, initially off-putting, comes finally to serve as camouflage for the sinister movement of large and powerful forces.
  24. Desperately Seeking Susan
    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.
  25. Rita, Sue and Bob Too
    The movie's sense of humor is brash and shaggy, and Rita does have a couple of fliply delivered comebacks. But on the whole, there's not enough variety or definition to hold your attention. Too much is all on the same pitch.
  26. How to Train Your Dragon: The Hidden World
    The trouble with the film is that this animal love story also saps some of the franchise’s main strength, which has always been the almost pet-like relationship between humans and dragons.
  27. Horton Hears a Who!
    It does honor the book's flavor and spirit with a bright, funny treatment. Voice performers Jim Carrey (as Horton) and Steve Carell (the Mayor) play their roles just right, without making the movie about them.
  28. Emma.
    It’s a more than serviceable pleasure, for fans of Austen’s 19th-century comedy of manners and romantic misunderstanding.
  29. The Nomi Song
    There remains a maddening emptiness where the film's ostensible subject should be.
  30. Collapse
    Think of Collapse as the anti-"2012." Not because this dour doc is any more optimistic about the future than that recent apocalyptic spectacular but because its vision of disaster is delivered not through expensive special effects but by a talking head.
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