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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    • 47 Metascore
    • 50 Critic Score
    He's Just Not That Into You
    After more than two hours, what we're left with feels like a Robert Altman movie on Botox. It has some real substance and heft, but it also might be a bit too glossy.
  2. Confessions of a Shopaholic
    Rebecca may owe everybody for everything, but Fisher definitely owns the movie. She is the only one outside of Ritter who gives a bona fide performance.
    • 42 Metascore
    • 50 Critic Score
    The Last House on the Left
    In the end, like virtually every other remake that has been released recently, it's polished and predictable.
  4. Tokyo!
    Tokyo, if anything, becomes more of a mystery after Tokyo! than it was before. That's the strength and curse of the film. If you can't find real connections between its disparate stories, you can always make them up yourself. But if that kind of film frustrates you, think twice before booking a ticket to Tokyo!
  5. The Edge of Love
    That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.
    • 63 Metascore
    • 50 Critic Score
    The Great Buck Howard
    Malkovich has a role that coulda-woulda-shoulda been a sensation if he had had a different director and different co-stars.
  7. Monsters vs Aliens
    Has bells and whistles, superb technical sophistication and dazzling visual effects, sound, fury and Reese Witherspoon. What it doesn't have is heart. Like so many vehicles that have popped out from the DreamWorks Animation snark tank, Monsters vs. Aliens is too clever by half.
    • 48 Metascore
    • 50 Critic Score
    Alien Trespass
    Those who fondly recall "The Blob" would seem to be the target crowd for a fastidious pastiche that attempts to coax laughs by maintaining a poker face.
    • 40 Metascore
    • 50 Critic Score
    Paris 36
    A handsomely made French musical that never really soars.
  10. Hannah Montana: The Movie
    The singer-actress has screen presence to spare and a nice, rich voice. By the time her young fans outgrow her -- or she them -- she should have an excellent chance at a second career. Making, you know, real movies and real music.
    • 38 Metascore
    • 50 Critic Score
    The Mysteries of Pittsburgh
    Pleasant-to-watch, easily forgotten drama.
  12. Observe and Report
    Cruel, unfunny and yet somehow perversely fascinating.
  13. 17 Again
    Engaging but pedestrian comedy.
  14. Battle for Terra
    It doesn't do much for the film's pacifist message that, as spacecraft zip across the screen and fire lasers into your popcorn, you may find yourself wishing that Tsirbas had replaced the movie's poorly written dialogue and implausible plot with more battle scenes. War! What is it good for? Awesome animation!
    • 64 Metascore
    • 50 Critic Score
    Adoration
    The complex story structure teeters between the revelatory and the absurd, depending on how much you buy the irritating-then-intriguing performance by Arsine Khanjian (Egoyan's wife, the Armenian-Canadian actor).
  16. Little Ashes
    Beltrn, for his part, makes a solidly believable Garca Lorca. The problem is with the man with whom he's obsessed. In Pattinson's performance, we never see what Garca Lorca sees in Dal.
    • 67 Metascore
    • 50 Critic Score
    Rudo y Cursi
    Enjoyable but forgettable.
  18. Land of the Lost
    It's cheap-looking (dinosaurs and other beasts here look like CGI loaners from Spielberg), deeply mediocre and predictable.
    • 58 Metascore
    • 50 Critic Score
    Easy Virtue
    Blame the wafer-thin adaptation by Sheridan Jobbins and director Stephan Elliott. What might've been a scrumptious, chocolatey dessert of a movie -- a Noel Coward delite -- is instead a scoop of lemon ice, not filling, faintly sweet and mostly water.
  20. Tetro
    Tetro has no internal tension and should have been a comedy.
  21. Shrink
    Shrink is no worse than the average Hollywood comedy. But it shows, more obviously than most, the bankruptcy of standard-issue American pop narrative, circa 2009.
  22. Paper Heart
    Yi's self-regarding, ironic tone makes the whole thing feel like a setup, designed more as an indie-chic calling card than a sincere inquiry.
  23. Shorts
    If parents feel like they've seen much of Shorts before, its celebration of mayhem and restless, thrill-seeking vibe will absorb young viewers, especially as the boredom of late summer begins to set in.
  24. Taking Woodstock
    A choppy and occasionally unsure film, one that doesn't achieve the superb tonal control of "The Ice Storm," but that certainly doesn't represent an unqualified disaster on a par with Lee's first attempt at the western, "Ride With the Devil."
    • 69 Metascore
    • 50 Critic Score
    The September Issue
    It's delicious and ensnaring and easy on the eyes, but it can't give you the definitive truth about notoriously frosty Vogue editor Anna Wintour.
    • 55 Metascore
    • 50 Critic Score
    Walt & El Grupo
    The most damning assessment comes from animator-historian John Canemaker, who concludes that Disney's ethnically neutered South American output "gagged it up so that the American influence overwhelmed the cultural" influence of South America.
  27. Capitalism: A Love Story
    Exhibits the weaknesses and the strengths of what has become a nearly foolproof formula for keeping viewers engaged.
    • 39 Metascore
    • 50 Critic Score
    Fame
    This new Fame, whitewashed for the kids, leaps into a catchy rhythm at the start.
    • 47 Metascore
    • 50 Critic Score
    Ong Bak 2
    The hatchet-happy editor, ever-attentive to the transient attention span of the film's target audience, barely allows the hero time out from one virtuosic battle before he is flung in the face of a new enemy.
  30. A Christmas Carol
    A fable that is by turns antic, scary, sweet and, in the end, slightly soulless. In other words, it's a heartwarmer that doesn't have much of a heart itself.
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