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 5.2 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. Salinger
    While some of the stories are interesting, the film is much longer than it needs to be. For his part, Salerno tries to get creative with solutions for the lack of visual stimuli, but most attempts fail.
  2. Money for Nothing: Inside the Federal Reserve
    The film is less a look into the Fed’s head than a presentation of its history, going back even farther than its creation in 1913, in response to a series of early 20th-century banking panics.
  3. The Patience Stone
    Farahani’s performance is outstanding. She comes across as both delicate and fierce, and her sad-eyed anguish is palpable.
  4. Populaire
    Populaire is a mostly delightful and entirely unironic throwback to the kind of film they stopped making about 50 years ago.
  5. Sample This
    The movie provides a vivid sense of the period, as well as an intriguing backstage look at the making of improbable pop classics.
  6. Things Never Said
    When it comes to writing the poetry that Kalindra recites, Murray knows how to do more with less; he needs to apply that lesson to his filmmaking, too.
  7. The Family
    After the movie limps along for an hour and a half, Besson suddenly switches gears and does what he does best.
  8. Insidious: Chapter 2
    A bustling, overly busy mess.
  9. Follow the Leader
    The movie is about so much more than politics. Growing up, growing disillusioned, gaining wisdom — these are the themes of Levitt’s slight but eminently watchable film.
  10. Adore
    Adore at its core is a bore, nothing more.
  11. The Ultimate Life
    The message of The Ultimate Life could be summed up on a greeting card. Or rather, 12 greeting cards.
  12. Terraferma
    The story starts to feel crowded, especially when each character seems instantaneously at odds with another. One set of opposing forces would probably suffice.
  13. Afternoon Delight
    The movie’s a mixed bag, but Hahn makes the most of her opportunities. Casting directors would be wise to take note.
  14. Winnie Mandela
    Despite the marquee names and their obvious talent, the film feels like a made-for-TV movie. It’s slight and episodic, with a weirdly scrupulous ambivalence about its subject, whom it seems torn between loving and loathing.
  15. Instructions Not Included
    The film’s counterintuitive success is largely due to Derbez, who demonstrates why he is beloved, both south and north of the border.
  16. Riddick
    Riddick can be cheesy and silly, not to mention excessively violent, but it’s also fun.
  17. The Artist and the Model
    The Artist and the Model isn’t about much, other than female beauty. That theme is not exactly controversial. Chalk the tameness of the subject matter up to the period in which the film is set.
  18. Getaway
    The whole movie becomes such a pileup of detritus, whether it’s cop cars or plot points, that even something as important as rationale becomes an afterthought.
  19. The Grandmaster
    The director took great efforts to be true to Chinese martial arts, but he did so without sacrificing his own distinctive vision.
  20. One Direction: This Is Us
    I’m on to you, Spurlock. There are holes in your story about five lads who don’t appear to ever drink, smoke, fight, curse or partake in romantic dalliances of any kind. At least, not on screen.
  21. Thérèse
    With the exception of one heartbreaking and well-acted scene towards the end of the movie, the atmosphere is oppressive and the characters act as if their personalities have been shot with novocaine.
  22. Short Term 12
    Short Term 12 is that rare movie gutsy enough to tell the truth about love: that it’s not a poetic longing or a magical-thinking happy ending, but a skill. And, the film suggests, we all have the capacity to learn it.
  23. Closed Circuit
    Closed Circuit is intriguing, even mildly diverting. That might have been fine for another film at another time, but in light of the here and now, this one should have been more.
  24. Austenland
    The movie has an Austen-like plot about an Austen obsessive. And while Hess laboriously checks off so many familiar scenarios...the film doesn’t have so much of what makes Austen transcendent.
  25. Smash & Grab: The Story of the Pink Panthers
    It’s a fascinating inside look, made all the more thrilling by Marking’s access to actual Pink Panthers.
  26. Cutie and the Boxer
    It’s a wonder how Cutie and the Boxer, in less than an hour and a half, manages to say so much about love, life and art. Movies twice as long are often half as eloquent.
  27. The Wall
    Pölsler’s film is quietly deliberate without ever feeling slow.
  28. The World's End
    This movie’s pleasures are less about its villains and more about the interplay between Pegg and Frost.
  29. You're Next
    The latest genre exercise from slasher-flick prodigy Adam Wingard (“A Horrible Way to Die”) is at times bloodily entertaining. And if the central plot twist isn’t all that clever, at least the movie offers some motivation for its mayhem.
  30. The Mortal Instruments: City of Bones
    There are elements worth celebrating. The movie is thankfully less self-serious than the mopey “Twilight” films. The Mortal Instruments revels in its own camp. But there is plenty of room for improvement. The action flick is overly long, complicated and, even by teen romance standards, cringe-worthy in its cheesiness.
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