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. Because I Said So
    What the filmmakers try to play for laughs -- a mom and her daughters chatting about orgasms while shoe shopping -- isn't funny, it's creepy.
  2. Puccini for Beginners
    But when mechanical plots are a drama's main engine, we look for something else to divert us, preferably good comedy. That's in short supply, unfortunately. And it's no fun to sit through the movie's retread Woody Allenisms.
  3. Norbit
    Much of the movie -- which Murphy wrote with a small posse of collaborators -- is taken up with the torturously dull, not to mention unbelievable, romance between Norbit and Kate (a disappointingly lackluster Newton) and the tedious agenda of Cuba Gooding Jr. as a schemer-manipulator.
  4. My Brother
    What it possesses in heart and goodwill, it sorely lacks in narrative skill and artistic depth.
    • 56 Metascore
    • 30 Critic Score
    Boy Culture
    Opportunities for dramatic tension, comedic effect, erotic energy, even just flat-out weirdness -- all are squandered by Brocka and the actors in a haze of blandness that gives the film all the edge of a particularly gay Gap commercial.
  6. Are We Done Yet?
    John C. McGinley from "Scrubs" gets to strut some of his comic stuff as the deranged builder, but he's the only passable feature in a property that should be condemned.
  7. Black Book
    The new Dutch film Black Book manages to turn World War II into a large piece of cheese. A lurid, pulpy, slightly perverse potboiler, the movie suffers mainly from its utter lack of seriousness.
  8. The Reaping
    If only The Reaping had the decency to be coherent.
  9. Perfect Stranger
    Just another thriller, utterly disposable.
  10. The Condemned
    It's hard to imagine an audience that won't break up in laughter at this bewildering mixed message: Enjoy this movie, but you really shouldn't be watching it.
  11. Angel-A
    Angel-A is counterfeit art-house chic writ large -- a French film that fails to produce the ineffable charms of the yesteryear movies it brazenly imitates.
  12. Charlie Bartlett
    The movie feels forced, cliched and derivative.
  13. Daddy Day Camp
    It's gotten to the point where Gooding's presence on a marquee practically guarantees we'll be bashing our heads against the seat in front of us. Bonk, bonk, bonk.
  14. Dedication
    Theroux and company could be said to be "Garden State"-ing, or trying to. Instead of that film's sheen of the touchingly weird, Dedication finds a whole lot of the coldly dumb.
  15. September Dawn
    It's a soap opera posing as moral outrage.
  16. Romance & Cigarettes
    the movie comes on as a novelty item, meaning it's so full of disparate parts and so unable to approach coherence, it just sits there and burns out.
  17. Trade
    By introducing silly elements into a serious endeavor, the filmmakers undercut their own movie. In the end, we're watching a somewhat exploitative movie about exploitation.
  18. Things We Lost in the Fire
    Del Toro will probably get an Oscar nod for his Jerry, because the film is so full of Oscar moments, including a cold-turkey detox bit. He rumbles and shivers and screeches and bangs his head on the wall and takes a shower in his clothes. I never believed a second of it.
  19. Bella
    A Mexican movie in which the outcome is never in doubt, the scenes are endless -- sorry, we meant poetic-- and the false beard on the central character's face looks as though it could use a little extra gum.
  20. Elizabeth: The Golden Age
    Overdresses and ultimately abandons what drew us to its 1998 predecessor in the first place: an intimate embrace with history.
  21. Fred Claus
    Vaughn's con-man jive doesn't get much play in this one; he spends most of his time as a bitter creep, and the writing (by Dan Fogelman) isn't sharp enough to make the hipster-at-the-North-Pole theme pay off in any meaningful way.
  22. August Rush
    Intended as a fuzzy family fable, "August" plays more to the gag reflex than to the heart, especially when our little orphan starts playing the guitar like a virtuoso after what seems like a three-minute tutorial.
  23. The Perfect Holiday
    A piece of holiday cheese that even Harry & David wouldn't touch.
  24. Southland Tales
    May be ambitious in its genre-defying abandon, sideswiping science fiction, satire, film noir and melodrama along the way, but it's also exasperatingly convoluted, self-amused and politically sophomoric.
  25. Mr. Magorium's Wonder Emporium
    The movie, directed (and written) by Zach Helm in grotesquely bright colors, means to approach the creepy wonder of Roald Dahl but gets only the creepy part right.
  26. Redacted
    The film's moral commentary is De Palma redux: same old Brian enjoying the peeping, bringing us into the guilt zone, then saying shame on all of us.
  27. The Bucket List
    The overall sense, however, is of a movie coasting on an obvious and somewhat flimsy premise, to which no one thought to bring much else besides Nicholson and Freeman.
  28. Cassandra's Dream
    Instead of offering a perspective that, at the very least, laments a world where the flow of money hurts otherwise good people, Allen simply pushes the movie into an uncertain sinkhole between morality play and black comedy.
  29. Honeydripper
    Trudging nobly under a mantle of impeccably earnest intentions and a fussy, too-quaint-by-half production design, Honeydripper lags and drags to its utterly predictable end. There's not a spark of spontaneity or soul about it.
  30. Cloverfield
    Cloverfield is a relentless, I-thought-my-eyeballs-were-bleeding exercise in visual disorientation.
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