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. Son of Rambow
    A crowd-pleasing combination of buoyant spirit and occasionally dark humor.
  2. In Good Company
    Good points aside, In Good Company is a bland, occasionally phlegmatic pastiche of cliches and dull encounters.
    • 66 Metascore
    • 70 Critic Score
    Unmistaken Child
    Unmistaken Child: adorable, moving, bewildering, sad and, ultimately, peaceful.
  4. Cop Car
    The film is full of quiet little truths.
  5. To Dust
    There’s something in the relationship between these two partnerless men — their yearning for connection — that feels, beneath the jokes, very real and very recognizable.
  6. On the Outs
    On the Outs has its rewards, especially in the mesmerizing performance of Marte.
  7. Chutney Popcorn
    Its easygoing, disarming air will endear it to its target audience, who will appreciate this movie as much for the lifestyle it depicts as its actual story.
  8. Terminator 3: Rise of the Machines
    Wastes no time getting very loud and very silly and never really lets up.
  9. Shadow Magic
    It's a film about culture clash, the generation gap and the loss of tradition that inevitably accompanies the arrival of anything new.
  10. Julie & Julia
    A movie that soars whenever Child is on the screen and sags when Powell shows up.
  11. Emma
    Director McGrath retains the novel's highlights, but he slices everything to ribbons.
  12. Avengers: Age of Ultron
    As he did in the first “Avengers,” writer-director Joss Whedon avoids the fatal trap of comic-book ­self-seriousness, leavening a baggy, busy, overpopulated story with zippy one-liners, quippy asides and an overarching tone of jaunty good fun.
  13. Captain America: The First Avenger
    Captain America might hold the most promise, not just of saving the world, but of saving comic book movies from themselves.
  14. Three... Extremes
    Like a bouquet of poisoned flowers -- beautiful, delicate and lethal. A trio of horror films from three "extreme" Asian directors, it shows how much evil fun talented bad boys can have on a very small scale.
  15. Smash & Grab: The Story of the Pink Panthers
    It’s a fascinating inside look, made all the more thrilling by Marking’s access to actual Pink Panthers.
  16. Brian and Charles
    Like Charles himself (and maybe Brian, too), it’s an odd hodgepodge of a story: a sweet, eccentric misfit, just waiting for someone to find it, and love it, despite its flaws.
  17. City Island
    In this story, everyone, man or woman, is a walled fortress of paranoia, secrecy, unsatisfied yearnings and anger-at-low-tide, all of which will rise and collapse over the course of what is a very funny film, and one that operates at the sea level of humanity. Quaint. Slightly peculiar.
  18. Missing
    While “Missing” is just a cheap thriller, one can’t help but wonder whether, in the hands of more inventive filmmakers, the screen time that has come to define personal interaction might find a richer dramatic purpose.
  19. Something's Gotta Give
    It is a well written, nicely acted and smoothly directed battle of the sexes.
    • 66 Metascore
    • 70 Critic Score
    The Girlfriend Experience
    The film manages a career-spanning panache: Soderbergh taps into the nervy impulses of his earliest endeavor, "sex, lies and videotape" as well as "Ocean's Eleven." The Girlfriend Experience has something to elevate and exasperate fans of both.
  21. Beverly Hills Cop
    The result is a movie that can be wonderfully languid and wonderfully breakneck as well, a formula movie so gleefully bedizened with quirks that it always seems better than it is. [5 Dec. 1984, p.C1]
    • Washington Post
  22. The Life Ahead
    The Life Ahead might be a familiar story, but as a showcase for Loren’s sensuality, star power and unfailing instincts, it feels both classic and exhilaratingly new. She’s still got it, and as this performance reminds us at every turn, she always did.
  23. Peterloo
    The end result is a movie that feels oddly detached, especially considering the raw intimacy of Leigh’s previous films.
  24. White Hunter Black Heart
    It's Mondo Machismo, Hollywood on safari, a self-aggrandizing epic reeking of man scent.
  25. Alan Partridge
    Partridge is such a fatuous, superficial figure that the trick is to make him palatable enough to sustain interest for more than an hour. The filmmakers meet with uneven success.
  26. Take Every Wave: The Life of Laird Hamilton
    Although Hamilton — who is not widely known to a general audience — is inarguably a legend in his sport, and an engaging enough subject, Take Every Wave doesn’t give us a reason to invest deeply in his story.
  27. Innocent Voices
    What's so powerful about Mandoki's film, which he co-scripted with Torres, is the complex, ever-surprising course that Chava takes toward manhood.
  28. Me You Them
    The region's stark beauty and the filmmaker's eye for composition compensate somewhat for its predictability and obvious if misguided feminist agenda.
  29. Stuart Little 2
    It's a pleasant experience. But that's what it is: a sequel that replays every aspect of the original movie.
  30. Auto Focus
    It never answers the key question: Why should we care?
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