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. Disconnect
    If this strikes you as vaguely familiar, you’re right: Disconnect is a computer “Crash.”
  2. Oblivion
    It’s an engrossing, if complicated and twisty, story, with plentiful sci-fi action and a provocative subtext about the nature of the human soul. At times, however, the balance between those two things feels off.
  3. Scary Movie 5
    Lazy, boring, vile and tragically unfunny attempt at a horror-film spoof.
  4. Trance
    There’s a little too much happening in the film’s violent, frenetic conclusion, which involves the retrieval of fractured memories, the confession of betrayals and so many narrative loops within loops that the film’s big reveals never make perfect, deeply satisfying sense. Maybe it’s not supposed to.
  5. The Company You Keep
    At its core, The Company You Keep is a good, solid thriller about a fugitive trying to clear his name. But it’s a much more interesting movie at the edges.
  6. To the Wonder
    Clocks in at close to two hours. It feels much longer. By comparison, Malick’s World War II epic “The Thin Red Line” tipped the scales at a whopping 170 minutes. But at least that 1998 film had people shooting at each other. There’s no such excitement here.
  7. 42
    Harrison plays Rickey with a jutting jaw, squinting eye and hoarse bark straight out of the Irascible Old Coot playbook, his character constantly invoking God and the almighty dollar to justify what became known as Rickey’s “noble experiment.”
  8. Evil Dead
    More stomach-churning than soul-chilling. The list of on-screen atrocities includes attacks by nail gun, electric carving knife, chain saw, shotgun, crowbar and chunk of ceramic from a broken toilet tank, used as a crude bludgeon.
  9. The Host
    It’s a mushy and unsuspenseful melodrama.
  10. Starbuck
    It’s silly and a bit sappy, but it works, in a crowd-pleasing way.
  11. G.I. Joe: Retaliation
    Although “G.I. Joe” is merely a movie based on Hasbro toys, the action -- the real point of all this -- feels just as lifeless.
  12. InAPPropriate Comedy
    A more accurate title would be “Inept, Inadequate and Insipid Comedy.”
  13. The Croods
    Just good, goofy fun, for a generation too young to have met Bamm-Bamm.
  14. Olympus Has Fallen
    Olympus Has Fallen at least possesses the frisson of timeliness amid otherwise hoary action-movie cliches.
  15. Ginger & Rosa
    Suffused with enormous compassion for the young woman at its center, this parable of awakenings shares some DNA with the art house hit “An Education” but has little of that movie’s nods to cozy humor and happy endings.
  16. Spring Breakers
    How on earth is it possible for one film to be so tiresome? Spring Breakers isn’t deadly dull despite all the nudity and violence, but because of it.
  17. Admission
    Admission is not especially funny. The trailer can’t seem to make up its mind. On the one hand, it looks like a satire of academia. On the other hand, it could be a gentle rom-com. In truth, it’s neither.
  18. Upside Down
    In Upside Down, writer-director Juan Solanas takes the gimmick about as far as it can go, rendering the metaphor of longing and separation in effective, and richly visual, terms. If anything, however, he goes too far.
  19. Stoker
    Stoker plays out like a Kabuki “Macbeth”: gallons of style slathered on a story you already know by heart.
  20. Beyond the Hills
    The filmmaker’s dedication to non-judgment occasionally militates against narrative drive: Beyond the Hills begins to sag in its middle sequences, when the repetitive monotony of Alina’s outbursts begins to yield diminishing returns. But he has made a film that’s worth even those wearying sequence.
  21. The Incredible Burt Wonderstone
    A generic, fitfully funny mainstream comedy that doesn’t nearly get the best from its name-brand players but doesn’t qualify as a desecration, either.
  22. Emperor
    This drama is serious and well made but will appeal primarily to those with an interest in the devastated setting (1945 Tokyo) and the enigmatic title character (Emperor Hirohito).
  23. Oz the Great and Powerful
    About the movie industry’s misguided belief that it can distract the audience from a film’s narrative weaknesses with little more than flash and spectacle. That con might have worked with the rubes once upon a time, but in case Hollywood hasn’t noticed, we’re not in Kansas anymore.
  24. Jack the Giant Slayer
    Too scary for very young children, yet too silly for most older fans of director Bryan Singer’s earlier forays into the Superman and X-Men franchises, “Jack” seems designed to appeal to a very narrow, and possibly illusory, demographic: the mature moppet.
  25. Phantom
    Intriguing, if uneven, thriller.
    • 35 Metascore
    • 25 Critic Score
    The Last Exorcism Part II
    An ineffective excursion that maintains a few direct ties back to the original film but never moves the story forward.
  27. A Place at the Table
    The problem, as “Table” shows, isn’t that the next meal never comes. It’s that when it arrives, too often it is filled with empty calories.
  28. No
    No isn’t nearly as definitive or declarative as its title: It leaves viewers wondering whether they should cheer, shrug or shake their heads.
  29. Dark Skies
    The movie builds a moderate, if less than monumental, level of spookiness, regardless of your ignorance. It’s a workmanlike piece of suspense.
  30. Snitch
    Snitch is protein-and-starch filmmaking at its utilitarian -- and belly-filling -- best. Johnson brings the steak; Bernthal the sizzle. The father-son drama is served up as sauce on the side. But as long as the beef isn’t too overcooked, who needs the A1?
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