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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    • 29 Metascore
    • 50 Critic Score
    Vehicle 19
    A lean, low-budget and claustrophobic mistaken-identity thriller that’s so stripped-down, it’s nearly nonexistent.
  2. Dirty Wars
    The film is a documentary, pure and simple. But the movie, by director Rick Rowley, plays out like something of a murder mystery.
  3. Pandora's Promise
    In the end, its somewhat equivocal message — that nuclear power might just be the lesser of several evils — is more convincing than you’d think.
  4. Man of Steel
    Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
  5. Hating Breitbart
    The depiction of an always energetic and often furious Breitbart may please the man’s followers. But Marcus makes little effort to illuminate Breitbart’s character or motivation, so this high-pitched portrait ends up a little flat.
  6. This Is the End
    Rogen and his friends may have set out to celebrate virtue at its uneasiest, but they’re clearly still most at home with earthly delights.
  7. The East
    As usual, Marling is a pleasure to watch for the psychological complexity and contradictions of her character. This time, the story almost lives up to the performance.
  8. The Kings of Summer
    Without the benefit of deeper psychological spadework, The Kings of Summer stays resolutely on the surface, resembling more of an extended sitcom than a memorable movie on a par with the films it references.
  9. Violet & Daisy
    The actors can’t compensate for a story that ultimately sputters.
  10. Wish You Were Here
    The ending is neither outlandish nor foreseeable, which is its own impressive accomplishment.
  11. The Purge
    The people of 2022 may “release the beast” by slaughtering their fellow Americans. In 2013, that’s still what we go to the movies for.
  12. The Internship
    The fact that this overlong, often preposterous comedy succeeds at all (which it does, only occasionally) proves that the Vaughn/Wilson charm can still work a measure of magic.
  13. After Earth
    You can’t blame Will Smith for wanting to give his son a leg up in the business. Maybe one day Jaden will have his father’s career — and his ability to carry a movie. For now, it’s a little premature to ask him to bear the weight of this soggy, waterlogged “Earth” on his skinny shoulders.
  14. Now You See Me
    The problem is that, in focusing on what makes a good caper, director Louis Leterrier forgot about what makes a good movie: character development, carefully constructed tension and believable plot points.
  15. What Maisie Knew
    Primarily, What Maisie Knew is a showcase for consistently superb performances that, while utterly grounded in their characters, succeed in keeping viewers off-balance as to who will do what, and when.
  16. Frances Ha
    The writing is so musical, so attuned to human frailty and aspiration, that I defy anyone to watch the movie without smiling — with amusement one minute, rueful recognition the next, but probably always with some measure of simple, undiluted delight.
  17. Epic
    Enormously visually appealing, even if the story itself is almost unrecognizably bloated.
  18. Fast & Furious 6
    Like its predecessors, doesn’t need CGI, 3-D glasses or even praise from film critics. It just needs to please its audience with amped-up, old-school thrills that make its target demo whoop and holler with every zoom, smash and ka-BOOM. Consider this review a declaration that it does just that.
  19. The Hangover Part III
    To make matters worse, this third “Hangover” is dull.
  20. Stories We Tell
    With its ingenious structure, seamless visual conceits and mordant humor, Stories We Tell is a masterful film on technical and aesthetic values alone. But because of the wisdom and compassion of its maker, it rises to another level entirely.
  21. Star Trek Into Darkness
    The casting coup here is Benedict Cumberbatch, who exudes steely resolve and silken savagery as a villain on the cusp of becoming a legendary nemesis.
    • 65 Metascore
    • 88 Critic Score
    Venus and Serena
    The documentary also reveals the sisters’ almost symbiotic closeness. They live together most of the year, cook together, do karaoke together and joke about how difficult it would be if one chose to get married.
  23. The Reluctant Fundamentalist
    The Reluctant Fundamentalist will likely make some people mad because of the way it holds the United States responsible for the repercussions of its actions in the world. Like Changez himself, the film has a complicated relationship with the superpower.
  24. The Great Gatsby
    Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.
  25. At Any Price
    At Any Price finally hinges on tragedies, reversals and moral ambiguities of Shakespearean proportions, but they’re delivered ploddingly rather than as the intricate parts of an inevitable whole. At Any Price ultimately suffers from the very phenomenon it laments: Like Henry Whipple’s farm, it feels more mechanistic than organic.
  26. Iron Man 3
    A frantic, occasionally funny, finally enervating bricolage of special effects, explosive set pieces, sardonic one--liners and notional human emotions, this branch of the Marvel franchise tree feels brittle and over--extended enough to snap off entirely.
  27. Mud
    This is where a filmmaker’s taste and reflexive sense of balance makes all the difference. Southern culture may be on the skids in Mud, but Nichols’s sensitive portrayal is gratifyingly on the level.
  28. The Big Wedding
    Even the susceptible softies, who always cry at weddings, will probably leave the theater dry-eyed, not to mention feeling a little empty inside.
  29. Arthur Newman
    A film in search of a tighter edit and a stronger point of view. It meanders from scene to scene, calling to mind the images of leaking faucets and dribbling IV fluid that appear here in close-up.
  30. Pain & Gain
    The whole thing is played for laughs that almost never come. To be sure, the film has its moments, but they’re few and far between.
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