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. Minions
    I, too, once enjoyed the Minions, in the small doses that they came in. But the extra-strength Minions is, for better or for worse, too much of a good thing.
  2. The To Do List
    The one thing The To Do List lacks is emotion. Carey is wise not to let the movie get bogged down by too much drama, but Brandy’s scientific approach to losing her virginity makes her seem almost robotic. That being said, it’s an amusing twist that the most emotional characters are Cameron and Brandy’s father.
  3. Last Vegas
    It’s the actors, plus an exuberant Mary Steenburgen as quick-witted lounge singer Diana, who make the movie more than a middling copycat.
  4. The Hobbit: The Battle of the Five Armies
    Jackson’s storytelling at this point is so driven by green-screen trickery and digital legerdemain that he seems to have forgotten about human emotion.
  5. Home
    Home is about the yearning for the comforts of family. But this kiddie sci-fi adaptation doesn’t quite live up to its evocative title.
  6. 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.
  7. They Call It Myanmar: Lifting the Curtain
    A solid and subtly moving portrait of the people of Burma.
  8. Switch
    Refreshingly free of hot air.
  9. Snitch
    Snitch is protein-and-starch filmmaking at its utilitarian -- and belly-filling -- best. Johnson brings the steak; Bernthal the sizzle. The father-son drama is served up as sauce on the side. But as long as the beef isn’t too overcooked, who needs the A1?
  10. Oldboy
    In general, Lee directs with less visual verve than Park. Anchored by Brolin, who brings an almost simian physicality to his portrayal, this Oldboy feels simultaneously less showy, less nightmarish and less epic than the original.
  11. Ride Along
    Hart is clearly working overtime; there’s nothing effortless about his histrionic delivery, but it works.
  12. Delivery Man
    Starbuck was a funny and warm-hearted trifle. So is Delivery Man.
  13. Back to 1942
    It's a grim tale, and Back to 1942 doesn't pretend otherwise.
  14. The Monuments Men
    The Monuments Men often lets the schematic gears show, succumbing to threadbare formula and sentimental cliches rather than taut, sophisticated drama.
  15. Anchorman 2: The Legend Continues
    Buried inside this grab bag of hits and misses is a pretty good point about the descent of television news into a miasma of 24/7 speculation, fluff and, most of all, hype.
  16. Emperor
    This drama is serious and well made but will appeal primarily to those with an interest in the devastated setting (1945 Tokyo) and the enigmatic title character (Emperor Hirohito).
  17. About Last Night
    About Last Night may be about Daniel and Debbie, but it’s Hart and Hall who make it worth watching. They take palatable but not exceptional cinematic hay and turn it into comic gold.
  18. The Way, Way Back
    Features one of the best endings in recent movie memory — and as we all know, endings are the hardest. If it takes some predictable twists and turns to get there, well then, accept it and move on.
  19. The Wolf of Wall Street
    The Wolf of Wall Street remains one-note even at is most outré, an episodic portrait of rapaciousness in which decadence escalates into debauchery escalates into depravity — but, miraculously, not death.
  20. Disconnect
    If this strikes you as vaguely familiar, you’re right: Disconnect is a computer “Crash.”
  21. August: Osage County
    The film feels claustrophobic at times, and stagy. It helps that the supporting cast is uniformly good.
  22. Unfinished Song
    It’s worth a watch, if just for Stamp’s complex performance.
  23. Haute Cuisine
    Haute Cuisine provides no huge revelations or profound messages, but it is sweetly and consistently engaging — a tasty treat that’s not entirely filling but perfectly enjoyable all the same.
  24. Kevin Hart: Let Me Explain
    It’s all in the name of comedy, and it mostly works, with a couple of exceptions, including an especially mean-spirited and somewhat violent tirade against a fan he met in an airport.
  25. Black Nativity
    Sensory pleasures abound in Black Nativity, which is grounded by Forest Whitaker and Angela Bassett’s performances as Langston’s strict, God-fearing grandparents.
  26. Byzantium
    The joke seems to be that in 2013, it’s hard to teach an old bloodsucker new tricks. Still, Byzantium has a few moves that might surprise you. They have nothing to do with blood, but everything to do with the heart.
  27. Blue Caprice
    As admirable as Moors’s oblique style is, though, Blue Caprice doesn’t offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise.
  28. A Hijacking
    To refuse to call A Hijacking a thriller is not to say it isn’t thrilling, in a dryly cerebral way. Writer-director Tobias Lindholm has a point to make, and he makes it pungently.
  29. Riddick
    Riddick can be cheesy and silly, not to mention excessively violent, but it’s also fun.
  30. An Oversimplification of Her Beauty
    The film is complex and bold, sometimes even exhilarating. It can also be frustratingly esoteric.
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