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. Falling for Grace
    Even though these characters are hogtied by the story's unimaginative conventions, at least their lively interactions feel genuine.
  2. Them
    Them knows something the makers of the "Hostel" and "Saw" movies apparently don't: Subtlety and suggestion are every bit as terrifying as slashing and sawing.
  3. The Signal
    In a movie about perception, misperception and the ramifications of misunderstanding, it's a bit ironic that the directors can't get out of one another's way.
  4. Illegal Tender
    A throwback to 1970s blaxploitation flicks, with a Latin accent, Illegal Tender would be a brassy, sassy guilty pleasure if it were more, well, pleasurable.
  5. The Nanny Diaries
    Linney -- this has happened too much to her -- is once again the best thing in a movie that at most achieves a certain mediocrity.
  6. Resurrecting the Champ
    Hardly anything feels real, but what feels even more unreal is Hartnett with a cloying, sentimental, self-pitying performance. The liveliest thing in the film is the great Jackson, slumming again in a role miles beneath him.
  7. Right at Your Door
    First-time director Chris Gorak is no Rod Serling, and in his hands the enterprise tends toward the lurid, especially after his nifty third-act twist.
  8. Death Sentence
    Death Sentence, directed by "Saw" co-creator James Wan, swings the pendulum too far. One day Nick is a mild-mannered nerd who spends his days making (and loving) risk assessments for his company; the next, he's Travis Bickle from 1976's "Taxi Driver."
  9. 3:10 to Yuma
    The remake adds 24 minutes and subtracts most of the suspense.
  10. Fierce People
    When the tone goes from daffy to dour in the course of a harrowing plot point, the story becomes more forced than fierce.
  11. The Hunting Party
    Truth be told, none of it is actual living, and all of it is secondhand re-spinning of such better movies as "The Year of Living Dangerously" and "Welcome to Sarajevo." To use an antiquated newsman's cliche: Get me rewrite.
  12. December Boys
    Radcliffe is good at showing vulnerability but without the skills to give it gradation. The magic doesn't work for him this time.
  13. Ira & Abby
    It's all too zany and madcap and Woody Allen-redux to be remotely credible, but Ira & Abby turns out to be witty and winning, in large part because of its cast.
  14. Mr. Woodcock
    Mild pleasures are available in Mr. Woodcock.
  15. I Want Someone to Eat Cheese With
    The entire film carries a whiff of "vanity project," with several of Garlin's comedic buddies reporting for duty.
    • 44 Metascore
    • 50 Critic Score
    The Game Plan
    Follows familiar formulas and characters, both brightened by a bit of wit and good performances from the two leads.
  17. The Kingdom
    One electrifying performance becomes the only saving grace of The Kingdom, a goofy action movie that tries to marry the blitzkrieg entertainment of "Rambo" to the cultural consciousness of "Syriana."
  18. Rendition
    Reese Witherspoon paces and cries through Rendition in a performance that does as much a disservice to her talent as the movie does to the issues it raises.
  19. Reservation Road
    Ruffalo is so squirrelly in the role that he seems like a dead giveaway from the start. You know exactly where the story is going, and, dang, that's exactly where it goes.
  20. Wristcutters: A Love Story
    Seems to me, teenage suicide isn't that funny, and nothing in this movie changed my mind.
  21. Dan in Real Life
    Filmgoers haven't seen a family this neurotically enmeshed since the last Diane Keaton movie.
  22. Jimmy Carter Man from Plains
    The movie doesn't offer much new to anyone familiar with Carter.
  23. Music Within
    If it does nothing else, Music Within shows us how deeply Ron Livingston's amiable face can take us into a movie. But even likable mugs like his -- remember him in "Office Space"? -- need help from the movies around them.
    • 43 Metascore
    • 50 Critic Score
    The Final Season
    Nathan Wang's score borrows blatantly from "The Natural" and is slathered on thick in all the big emotional scenes. They establish the right nostalgic mood, but it's broken with that loud "ping" of a metal bat every time a kid gets a hit.
  25. Sleuth
    Little more than a sleek, stylish stunt.
  26. Martian Child
    In drama, and just about everything else, almost is never enough. Which is why Martian Child, about the growing bond between an adult and child, never reaches us.
  27. Love in the Time of Cholera
    Lush, extravagant, sad and touching, Love in the Time of Cholera still feels weirdly insubstantial when all the febrile passion has abated. Like a fever it breaks, passes and is forgotten.
  28. Elegy
    What line is thinner than the one between confession and narcissism? Upon that line, exactly, does Elegy dwell, before tumbling off on the bad side.
    • 51 Metascore
    • 50 Critic Score
    The Walker
    Got it. Drug companies are evil, and gay people are discriminated against. But these Hollywood pieties can't paper over Schrader's maddening indifference to explaining exactly how the bad guys have been pulling the strings during the previous hour and a half. [14 Dec 2007, p.WE33]
    • Washington Post
  30. Alvin and the Chipmunks
    Youngsters who love the shrieky singing and don't notice the tapioca of the story will probably get their money's worth. Parents: Bring earplugs.
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