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. Benda Bilili!
    The band's success is never diminished. The fickle music industry can seem so arbitrary: A talented singer with connections might not make the cut, while a middling performer in the right place at the right time rockets to fame. Staff Benda Bilili's unlikely triumph is an epic feat, with or without anyone's help.
  2. Les Miserables
    For better or worse, though, this adaptation of the mega-hit Broadway musical fits neither description, largely because it lives in that kinda-sorta, okay-not-great, this-worked-that-didn't in-between for which words like "better" and "worse" fall woefully short.
  3. Salmon Fishing in the Yemen
    A surprisingly lush, endearing little film, in which a swelling sense of romanticism thoroughly banishes even the most far-fetched improbabilities.
  4. Now You See Me
    The problem is that, in focusing on what makes a good caper, director Louis Leterrier forgot about what makes a good movie: character development, carefully constructed tension and believable plot points.
  5. Broken City
    Overall, this is an entertaining diversion.
  6. Sparkle
    While Sparkle doesn't give the audience a lasting memory of Houston's voice at its most soaring, it does manage to provide a lingering sense of loss, mixed with celebration and grim irony.
  7. Norwegian Wood
    At times, the story seems to exist in the instant between wakefulness and sleep, a dreamy state that's also startlingly realistic.
  8. Hyde Park on Hudson
    The problem with Hyde Park on Hudson isn't its suggestion of FDR's dark side. That complexity, and Murray's spot-on portrayal of a man juggling myriad pressures and demands, from petty to momentous, marks one of the film's greatest strengths. It's that Daisy rarely comes into her own as more than the pliant emotional helpmeet to the Great Man.
  9. Silent House
    It will make you jump, to be sure, and your heart to beat a little bit faster. But what's truly scariest about it takes place not in the body, but in the mind.
  10. The Hunter
    At the core of the movie is the message that the real lonely hunter is the heart.
  11. Blue Like Jazz
    Without being parodistic, it manages to poke fun at the air of privilege and strenuous political correctness common to lefty, liberal arts schools, while retaining a certain affection for their heartfelt quirks.
  12. End of Watch
    It's powerful stuff, but I almost felt like I needed an intermission.
  13. Delicacy
    It is Markus's sensitivity to nuance and to the feelings of others that characterizes every step that he - and this sure-footed if off-kilter film - takes.
  14. People Like Us
    It's the flaws that Kurtzman builds into People Like Us that make it interesting.
  15. Ruby Sparks
    For a movie so bent on skewering illusions, Ruby Sparks ultimately can't entirely let go of its own.
  16. The Master
    By bringing so much thought, verve and visual poetry to bear on two neurotics acting out -- rather than on the larger cultural story they anticipate and embody -- The Master turns out to be more of a self-defeating whimper than the big, important bang it could have been.
  17. Katy Perry: Part of Me
    Fan or not, it's hard not to give in to Perry's endearing charms.
  18. Follow Me: The Yoni Netanyahu Story
    This was a man who needed no help standing out from the crowd.
  19. Maleficent
    For all its limitations, Maleficent manages to be improbably entertaining to watch, due solely to its title character. As befits a star of her regal standing and superb self-awareness, Angelina Jolie has managed to bend even the Brothers Grimm to her indomitable will.
  20. The Good Dinosaur
    The Good Dinosaur is hardly catastrophic. But the movie is a lot like Arlo. On its own, it seems fine; just don’t compare it to its capable siblings.
  21. 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.
  22. U.N. Me
    If it weren't so shocking, it would be a lot funnier.
  23. China Heavyweight
    Its brutality is unacceptable to Buddhism and Confucianism yet is increasingly appealing to young men (and women). And in a country that still professes socialism, it's fiercely individualistic. There are no collective work groups in the boxing ring.
  24. Cloud Atlas
    While Tom Tykwer, Andy Wachowski and Lana Wachowski haven't necessarily expanded on Mitchell's book, they've done a superlative job making it legible onscreen. Cloud Atlas deserves praise if only for not being the baggy, pretentious disaster it could have been in other hands.
  25. Hello I Must Be Going
    Hello I Must Be Going isn't heavy lifting, to be sure. But it's still worthy of a little end zone dance.
  26. Searching for Sugar Man
    The movie is neatly structured, and Rodriguez turns out to be an interesting guy. He's worth getting to know, even if his music isn't.
  27. You've Been Trumped
    It’s pretty obvious, with the controversy surrounding Trump’s political ascendancy, that there is a built-in market for a film that makes him and his business surrogates out to be both callous bullies and buffoons.
  28. Starbuck
    It’s silly and a bit sappy, but it works, in a crowd-pleasing way.
  29. The Hunger Games: Mockingjay - Part 1
    It’s a joyless, surpassingly dour enterprise, but one that fulfills its mission with Katniss’s own eagle-eyed efficiency and unsentimental somberness.
  30. 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.
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