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. America: Imagine a World Without Her
    America is less successful as a debate, since it isn’t one. D’Souza controls the conversation, and thus goes unchallenged when he tries to make real-world points with make-believe scenarios.
  2. Hector and the Search for Happiness
    There are no surprises here, only blandly reassuring homilies.
  3. The Perfect Wave
    The movie’s transition from surfer flick to a story about faith is swift and not particularly smooth.
  4. Horns
    Heedless of purpose, Horns charges full speed ahead anyway, ramming its high-concept hooey down your throat until the only heat you feel is from indigestion.
  5. Ben-Hur
    Bekmambetov and Co. have created a redesigned product that is at once inferior to the original and a slavish imitation.
  6. Rudderless
    Rudderless is a competent, well-acted melodrama, yet in scope and ambition it has the modest and serviceable scale of the small, not silver, screen.
  7. Innocence
    It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
  8. The Pyramid
    The air inside the pyramid isn’t the only thing that’s stale in this ludicrous yet mildly likable horror film.
  9. The Gambler
    It’s John Goodman who steals every scene. As a scary loan shark who might cough up cash to get Jim out of his pickle, Goodman elevates the material, showcasing the dark humor that Wyatt was clearly going for. But, overall, that comedy just doesn’t land.
  10. Cake
    There’s no doubt that Aniston deserves more roles like this one but, with luck, in less maudlin, more surprising movies.
  11. Inferno
    Say what you will about Dan Brown’s books. They may be, as some have noted, poorly written, formulaic and pretentious. But at least they hold a reader’s attention, in ways that this excursion — as sleep-inducing and rigidly predictable as a train ride — does not.
  12. Suicide Squad
    Sadly, Suicide Squad feels like a watered-down version of what could have been a stiff drink.
  13. Aquaman
    On the plus side is the eye-popping production design, although that is also, like the plot, too, too much, dazzling the eye with more fantastical Atlantean technology and — inexplicably — underwater fire than a Las Vegas edition of Cirque du Soleil. Like the frequently shirtless Momoa, it’s pretty at first, then it just hurts.
  14. Southpaw
    Southpaw may be rote, predictable and mawkish, but none of those faults lie in its star. Even when he looks like an unholy mess, he transcends the movie he’s in.
  15. Little Boy
    Little Boy is a as phony as a game of three-card monte.
  16. No Escape
    Every Asian character is either a ruthless murderer or anonymous collateral damage. A lot of locals have to die, the film suggests, in order for one white family to survive.
  17. Unfriended
    At times, Unfriended really clicks — but ultimately, it’s a drag.
  18. The Divergent Series: Allegiant
    Everything is needlessly tangled and bewildering.
  19. Kill Me Three Times
    Although Kill Me Three Times includes a few murders, it does nothing to justify its title. Mostly, it just shoots itself in the foot, over and over.
  20. The Boss
    Although her charisma is still undeniable, there’s also no denying that McCarthy is capable of much more than she’s allowing herself to do here. There comes a point when every force of nature starts to look just plain forced.
  21. The Purge: Election Year
    Even DeMonaco seems bored by the sieges, escapes and gun battles. Silly one-liners are the only saving grace, and that's because such acting veterans as Williamson know how to sell them.
  22. A Girl Like Her
    Weber’s main point — that bullies are often victims of bullying themselves — gets lost in a tsunami of sorrow and sadism.
  23. The Bronze
    The Bronze is just another movie about overcoming arrested development. It’s not as funny as it tries to be, but, for a few, fleeting minutes, it leaves an impression.
  24. Nasty Baby
    Ultimately, Silva’s uneven command of tone undoes whatever goodwill his actors have managed to generate. They — and we — deserve much better than this.
  25. Best of Enemies
    Best of Enemies exists mainly as an occasion to replay the footage of Vidal’s smug taunt and Buckley’s seething response. It’s great television, but it has been available on YouTube for some time now.
  26. 5 to 7
    This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
  27. Beyond the Reach
    There are goofy, primal pleasures to be had in the first two-thirds of the film. But Beyond the Reach exceeds even its humble grasp in the final act, collapsing in a clatter of blockheaded manhunter-movie cliches. Crazy is one thing, but dumb is unforgivable.
  28. Queen of the Desert
    Though Kidman delivers a workmanlike performance, the story manages to be soppy and ploddingly dull, told via a screenplay that drives home the fact that it’s not really about momentous events, but momentous feelings.
  29. Road Hard
    You can make a movie that’s both sweet and crass; just look at Judd Apatow’s comedies. But the mix doesn’t work here, maybe because both the vulgarity and the cheesiness are so amped up.
  30. Secret in Their Eyes
    As the movie wears on, the plot points become increasingly far-fetched, and what started out as a moody if by-the-book thriller becomes increasingly silly. All the while, Roberts gives her all.
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