Washington Post's Scores

Select another publication »
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 5.4 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
view
per page
  1. Only God Forgives
    The most objectionable thing about Only God Forgives isn’t that it’s shocking or immoral, but that it’s so finally, fatally dull.
  2. The Hot Flashes
    Even though it earns an R rating for profanity and some risque material, it’s too meek and mild-mannered to qualify as brave, or even slyly subversive.
  3. Devil's Due
    It’s more silly than scary.
  4. Diana
    Diana isn’t just an egregious case of rewriting history, but one of oversimplifying it.
  5. Brain Donors
    Producers David and Jerry Zucker have shown with "Airplane," "The Naked Gun" and "Top Secret" that they are inspired film parodists. Brain Donors suggests that they are clumsy plagiarists.
  6. The Ultimate Life
    The message of The Ultimate Life could be summed up on a greeting card. Or rather, 12 greeting cards.
  7. Mademoiselle C
    It’s an air-kiss of a movie, one that places a non-contact peck on either side of its subject’s mouth, then breezes off before a serious conversation can begin.
  8. Vampire Academy
    The only thing that distinguishes this teen-magnet wannabe from its predecessors is how lazily it appears to have been slapped together.
  9. Ted 2
    As he proved with his misbegotten A Million Ways to Die in the West, MacFarlane is essentially a guy who’s gotten appallingly lucky on television. He exhibits zero proficiency in cinematic staging and no sense of pace.
    • 58 Metascore
    • 25 Critic Score
    Escape from Tomorrow
    Juvenile, disjointed and pointlessly revolting at times, although there are a few moments of disturbingly stark visual beauty.
  11. Prince of Darkness
    Carpenter being Carpenter, he vacillates between overexplanation -- his are the most verbose horror films -- and cheap shocks.
  12. Tyler Perry's A Madea Christmas
    An insensitive, unfunny cringer from the entrepreneurial writer-director that should have come with a gift receipt.
  13. I'm in Love with a Church Girl
    The intentions for I’m in Love With a Church Girl may have been noble, but nearly every part of the delivery turns out to be flawed.
  14. Endless Love
    The movie feels like Nicholas Sparks fan fiction.
  15. Fantastic Four
    The special effects look cheap, the acting is wooden, and the shouted dialogue consists largely of throwaway action-movie cliches (“Let’s do this”) and B-movie sci-fi jargon (“His bioenergy is off the charts!”).
  16. The Purge: Anarchy
    The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
  17. Alice Through the Looking Glass
    Wondrous visuals only go so far, in a film that turns out to be lethally dull.
  18. This Is Where I Leave You
    With a bench this deep, This Is Where I Leave You should have been a comedy of contemporary manners as wickedly funny as it is poignant. In the hands of Levy, it’s become just another forgettable example of low-stakes Hollywood hackwork at its most bland, banal and snipingly belligerent.
  19. The Lazarus Effect
    Despite classy lead performances by Mark Duplass and Olivia Wilde, the movie, from horror factory Blumhouse (known for cranking out sequels in the “Paranormal Activity” franchise, among others), relies too heavily on reanimated monster movie cliches and scientific gibberish to keep it alive.
  20. Ice Age: Collision Course
    Lazy, scattershot and excruciatingly unfunny, the movie is a hazard to the very young, who might come away with the erroneous impression that movies don’t get any better than this.
  21. Exodus: Gods and Kings
    This biblical action drama that feels excessive in every way imaginable, from running time (nearly 2 1/2  hours) to melodramatic acting to the conspicuous amount of computer generation.
  22. The Gunman
    The Gunman may start as a genre exercise of promising purpose, but it winds up being just a lot of bull.
  23. Dark Places
    Paquet-Brenner has assembled a talented cast.... Yet he elicits mostly unmemorable performances from just about everyone involved.
  24. Serena
    Cooper and Lawrence do their best, but the material consistently works against them, from the overwrought dialogue to the never-ending plot twists in place of character development.
  25. Aloha
    Somewhere on the incoherent pu pu platter that is Cameron Crowe’s Aloha, a nifty romantic comedy congeals and shrivels, inexplicably untouched.
  26. The Bag Man
    The self-conscious affectation of the film would be funny, were it not so smug.
  27. How to Be Single
    Ultimately, How to Be Single feels reverse-engineered to justify its ending, which while admittedly gratifying, can’t accurately be described as happy. For that, it would have to be worth the contrivances, cliches and tedium that have gone before.
  28. Legends of Oz: Dorothy's Return
    Animated in form but completely listless in content.
  29. Dark House
    Salva certainly gets points for creative repurposing. Much of what transpires in Dark House has been seen before, just not all in the same movie.
  30. Moms' Night Out
    [A] strained, clunkily orchestrated and dismally retrograde film.
Page:

Top Trailers

See all »
See all trailers »