Washington Post's Scores

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:
11478 movie reviews
  1. As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
  2. And the action? It's especially hard to determine who's fighting whom in "Legends," because, well, because they are a bunch of owls.
  3. Charlie St. Cloud, like its star Zac Efron, is a gorgeous, unblemished thing. Both would be much improved with a tiny flaw or two.
  4. A dog-frequency movie: enjoyable only to those tuned in to its particular register.
  5. Things really slow down during the movie's ill-advised forays into drama.
  6. So light and airy, it almost floats away on its own breeziness.
  7. It's a highbrow romantic farce, without the laughs.
  8. There's very little that's even kind of funny in It's Kind of a Funny Story, which can't accurately be described as a comedy but isn't a true drama, either.
  9. No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
  10. In Faster, it's a car, not actors, that drives movie.
  11. An uninspired studio product that demands as little from the audience as it did from its writers, directors and actors.
  12. A jagged little pill of a movie from baby boomer avatar Edward Zwick.
  13. Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.
  14. Cinema-as-shoplifting is okay, as long as you still get the feeling it's for a greater good. But that's something The Tourist is sorely missing.
  15. Disjointed drama filled with one-dimensional characters and melodrama so Lifetime movie-esque that it careens into unintentional comedy.
  16. Thank goodness for Tasha Smith's character, Shonda. She supplies the only reliable laughs as Pam's fun-loving best friend.
  17. H.G. Wells did it better. This movie spends so much yawn-inducing time on variations of the same combat scenario that its final showdown feels rushed.
  18. The problem is, the movie doesn't really care if we are laughing with it or at it.
  19. The swells of inspirational storytelling sometimes threaten to swamp the underlying inspirational story.
  20. You can't criticize it for false advertising.
  21. Atlas Shrugged: Part 1 is nearly as stilted, didactic and simplistic as Rand's free-market fable.
  22. Something Borrowed clinches it: It is not okay to sleep with the fiance of one's best friend. What's odd, and ultimately icky, is how enthusiastically the film attempts to justify doing so.
  23. Nothing more than an action-packed bagatelle masquerading as history.
  24. While I Am has its boogeymen - especially the rich, the racist and the ultra-competitive - Shadyac implicates himself whenever possible.
  25. For those with no vested interest in this protracted and supernatural soap opera, but who do care about cinema, The Twilight Saga: Breaking Dawn -- Part 2 will be, unsurprisingly, a silly and somewhat cheesily made waste of time.
  26. The "Twilight Saga" hasn't matured along with its heroine. In fact, the latest movie regresses a bit, delivering more filler, less feeling and crummier CGI than last year's "Eclipse."
  27. If director Michael Dowse took Matt and Tori out of the equation - which is to say, if he took out the main storyline - the whole event could have been a lot more fun.
  28. You can't fault the filmmakers for reshaping a diary into a cohesive film. You can however, fault them for taking one of the great antiheroes in preteen literature and turning him into, well, an even wimpier kid.
  29. This fitfully funny but mostly dull misfire defines exactly where the line can be drawn between truly subversive humor and lazy cynicism.
  30. As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.

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