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. Young Adam
    A compelling if singularly sour tale.
  2. Finding Neverland
    You're expected to weep, and perhaps you will weep. But if you do, it's not likely that you'll respect yourself in the morning.
    • 67 Metascore
    • 75 Critic Score
    Jay Kelly
    There’s a lot to like about “Jay Kelly,” the unexpectedly sweet new film from director Noah Baumbach. It’s beautifully shot, bustles with strong performances by a roundly endearing cast and indulges in an old-Hollywood elegance well-suited to its story: the late-life crisis of its titular megastar, played — embodied, really — by George Clooney.
    • 67 Metascore
    • 88 Critic Score
    Les Cowboys
    Bidegain and cinematographer Arnaud Potier speak multitudes with wide-angle, slow-panning shots that immerse us in a post-9/11 quagmire that’s never less than utterly personal.
  5. Haywire
    One of the reasons Haywire is such a pleasure to watch is that its director, Steven Soderbergh, doesn't overplay the film's hear-me-roar subversions.
  6. XXY
    XXY is, in the best possible sense of the word, an awkward film.
    • 67 Metascore
    • 10 Critic Score
    Marvin's Room
    Keaton and DiCaprio manage to bring several levels of emotion to their characters, but everyone else is a cardboard cut-out.
  8. Meduzot
    An interlocking ensemble piece in the tradition of "Crash" and "Babel," but with welcome dashes of whimsy and magical realism.
  9. Annette
    For audiences who prefer their movies to be as weird and even off-putting as possible, Annette comes fully wrapped as a pretentious, arty, occasionally breathtaking, ultimately misbegotten midsummer gift.
  10. Chappaquiddick
    The Kennedy dynasty has its share of admirers and critics alike, and — to the film’s credit — director John Curran and his screenwriters do not appease either camp. The result is a challenging character study, punctuated by moments of uneasy suspense and dark humor.
  11. Good Morning, Vietnam
    What you end up with in Good Morning, Vietnam is a peculiar hybrid -- a Robin Williams concert movie welded clumsily onto the plot from an old Danny Kaye picture. And neither half works.
  12. Mrs Palfrey at The Claremont
    It's all expectable, it's all enjoyable: British theatrical professionalism at the highest pitch.
  13. Korengal
    “Restrepo” felt like the story of how boys become men. Korengal feels like the story of how strangers become family.
  14. Sanctuary
    Although the performances are strong and committed — especially Qualley’s — the movie is little more than a conversation between two people who are constantly, maybe even constitutionally, full of it.
    • 67 Metascore
    • 70 Critic Score
    The SpongeBob SquarePants Movie
    An amusing enough romp through his familiar undersea universe.
  16. The Ninth Day
    Plays more like a philosophical debate than a war drama.
  17. An Affair of Love
    A bittersweet duet convincingly, if unexcitingly, performed by Baye and Lopez.
  18. The Flower of Evil
    This movie is a mixed repast: good food and wine laced with enough misanthropic poison to turn any stomach.
  19. Open Range
    It's a fine, old-fashioned 2 1/4 hours at the Bijou.
  20. The King of Staten Island
    Perhaps the highest compliment one can pay Davidson, Apatow and their collaborators is that The King of Staten Island is probably the first movie in cinematic history to earn every single one of the audience’s tears at the sight of a disastrous back tattoo. May it be the last.
  21. The Ides of March
    The Ides of March is cynical when, with political figures and institutions at all-time lows in public opinion, cynicism is the last thing we need; worse, that cynicism isn't spiked with any new or incisive insight.
  22. Shortcomings
    If Shortcomings falls short in any way — hackneyed plot, halfhearted themes of assimilation and identity — it isn’t due to the two actors who carry the story across the finish line.
  23. Guinevere
    Affecting, gloriously acted.
  24. A Guide to Recognizing Your Saints
    This is an exceptionally assured debut, and Montiel exhibits rare care with editing and sound design. His real forte, though, is casting, to which a brief scene featuring Downey and the incandescent Rosario Dawson powerfully attests.
  25. Enemy of the State
    The dazzle doesn't make up, however, for the movie's lack of depth.
  26. Poison
    Todd Haynes's Poison is a vision of unrelenting, febrile darkness. It presents three disparate stories in three greatly varied styles, all inspired by the work of Jean Genet, and its effect, as a whole, is like that of an especially vile infection; it moves diabolically through your system, spreading fever and nausea as it goes.
  27. FernGully: The Last Rainforest
    An animated feature with political agenda -- a didactic cartoon. But that doesn't interfere with its being a whopping good time.
  28. Lock, Stock and Two Smoking Barrels
    A considerable kick, though it would have helped if one of the boys had wiped off the lens of the camera once in a while.
  29. Runaway Train
    Runaway Train isn't just bad -- it's bodaciously bad, grotesquely overblown, lurid in its emotion, big ideas on its brain. And anyone with a taste for camp will have a glorious good time. [20 Jan 1986, p.C4]
    • Washington Post
  30. The Perks of Being a Wallflower
    The empathy-generating performances by the charismatic young actors -- particularly the uber-confident Miller and a simultaneously punk-rock cynical and girlishly fragile Mae Whitman -- compensate for any missteps.
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