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. Puss in Boots: The Last Wish
    The bar isn’t terribly high here, but Puss and company clear it comfortably, landing — but of course — on their feet.
  2. The Grandmaster
    The director took great efforts to be true to Chinese martial arts, but he did so without sacrificing his own distinctive vision.
  3. 40 Years a Prisoner
    So many of our problems remain, but 40 Years a Prisoner presents a valuable primer on what mistakes not to repeat.
  4. Gran Torino
    If you can survive the F-bombs and the near-constant ethnic invective, Gran Torino is not to be missed, if only as the gutsy, thoroughly unexpected valedictory of an icon fully willing to spend every bit of his considerable capital.
  5. Honey Boy
    Well, surprise: Honey Boy, Shia LaBeouf’s startlingly forthright, cathartic and beautifully acted movie based on his confusing and chaotic life as a child actor, winds up demonstrating what can go right, when the right elements are in place.
  6. The Killer
    As it is, The Killer is less a diamond than a piece of good-looking but cheap quartz: all sparkling surface and not much value.
  7. My Name Is Pauli Murray
    My Name is Pauli Murray delivers a lively, revelatory litany of all the things Murray got right first, in a career that was driven by equal parts intellectual curiosity and call to service.
    • 73 Metascore
    • 75 Critic Score
    Splitsville
    The grand subject of “Splitsville” is the virtues and pitfalls of unconventional relationship structures, and it’s never more inspired than when it’s finding surreal ways to convey the insecurities such arrangements may awaken.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    Folktales
    The great satisfaction of this documentary is seeing the troubled children of the early scenes emerge with a maturity and equanimity that comes from pushing oneself past the furthest you thought you could go.
  10. Results
    Results is a smooth transition for Bujalski from the fringes to more commercial work. It’s heartening that he didn’t give up his calling-card observational humor to do it.
  11. Cars
    The Pixar people have an extreme talent for conjuring imagery that is both soaring in its majesty but also resonant -- it's a stylization but acute enough to carry emotional meaning.
  12. Appropriate Behavior
    Comedy today is less about punch lines and pratfalls and more about eliciting that laugh-gasp hybrid. And those jokes come constantly in Appropriate Behavior.
  13. Erin Brockovich
    It is a rabble-rousing cheerfest, based on a true story.
    • 73 Metascore
    • 50 Critic Score
    Zombieland
    Zombieland is sometimes funny. But those of us who have teeny coronaries every time something goes bump in Zombieland might have a hard time relaxing for long enough to really enjoy ourselves.
  15. Red Satin
    Although the movie is slow-going at first, it gradually awakens, like Lilia. And then it dances.
  16. Alias Betty
    The good news might be that Huppert wasn't available for Alias Betty, but the bad news is that it didn't stop France from exporting yet one more cold, pretentious, thoroughly dislikable study in sociopathy.
  17. Julieta
    Whether by dint of his source material or his own maturity, the filmmaker has invested the surface sheen with tenderness and emotional depth. It’s no surprise that Julieta is marvelous to look at, but it possesses just as much substance as style.
  18. Ferrari
    Enzo Ferrari was a real person, not just a narrative device. No matter how ardently he sang of speed and danger, there must have been more to his character than Ferrari manages to find.
  19. Antz
    Sorry, Antz has no show-stopping song and dance numbers, no catchy melodies and no love songs either. The score, made up of old standards, does, however, enhance one of the movie's wittier episodes.
  20. The Lookout
    The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
  21. News of the World
    "News” is like almost every other western. Still, it works.
  22. Big
    Big has a warmhearted sweetness that's invigorating; it makes you want to break out the Legos. It's only near the end of the film, when Hanks has to play the scenes for pathos, that the movie becomes cloying.
  23. The Hangover
    Sitting through The Hangover is like watching "Memento" featuring the Three Stooges.
  24. The Square
    The Square may be one of the most timely films of this season, but it squanders its own relevancy by shooting fish in the world’s most shallow, painfully obvious barrel.
  25. The Club
    Toward the end, the film veers a bit out of control, as the residents engage in behavior that is incomprehensible, even given their previous transgressions.
  26. The Girl Cut in Two
    For all its charisma, A Girl Cut in Two lacks a certain depth.
  27. Slam
    Director Marc Levin's shaky, hand-held camera lends "Slam" an unvarnished, documentary feel. The script – credited not only to Levin, Bonz Malone and Richard Stratton, but to acclaimed performance poets Sohn and Williams – is dense and difficult.
  28. Journey's End
    This taut, emotionally wrenching snapshot of both the mythologies and grim realities of war possesses useful reminders about self-deception and abuse of power, especially at a time when bellicose rhetoric and war cabinets seem to be the order of the day.
  29. Both Sides of the Blade
    The whole thing looks like an ad for cologne.
  30. A Borrowed Identity
    Under Riklis’s direction, the film’s first act lulls the audience into a sense of familiarity, before plunging into a darker reality. The effect is shattering.
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