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. We Need to Talk About Kevin
    Lynne Ramsay's thoughtful, unnerving film works its strange power over viewers who are likely to find themselves as compelled as repelled by its fatally flawed key players.
  2. Tim and Eric's Billion Dollar Movie
    At times, the movie has the look and feel of the cheaply made late-night commercials that it mercilessly, and occasionally hilariously, mocks.
  3. Dr. Seuss' The Lorax
    A cautionary environmental tale with a thin veneer of entertainment on top. With its cotton-candy-colored palette of orange, pink and purple truffula trees, it looks like a bowl of fuzzy Froot Loops. But it goes down like an order of oatmeal. Sure, it's good for you. It's just not terribly good.
  4. Act of Valor
    The exercises are genuine, and so is the hardware. But the script undermines the sense of authenticity at every turn.
  5. Bullhead
    Many terms applied to action movies - muscular, animalistic, testosterone-fueled - are literally true of Bullhead.
  6. Wanderlust
    Between this film and last summer's "Horrible Bosses," Aniston's coyness - starring in explicit movies without having to be explicit herself - seems to be becoming her stock in trade. It's not a particularly commendable one, and Wanderlust does little to disprove that she's still a star more suited to TV rather than the big screen.
  7. This Means War
    As this sloppy, scattered, utterly synthetic piece of Hollywood widgetry unspools, it becomes increasingly clear that the romantic tension at play exists mostly between the men in question.
    • 80 Metascore
    • 75 Critic Score
    The Secret World of Arrietty
    Upon leaving the theater, a girl of about 6 turned to her grandmother and said dreamily, "That.Was.The.Best.Movie.Ever." And that sums up why this little movie is so very big.
  9. Hell and Back Again
    The film suggests that it doesn't really matter whether Harris ever gets back in uniform. He's forever carrying around a piece of unexploded ordnance in his head.
  10. The Swell Season
    Most vividly, The Swell Season captures the insistent, borderline-disturbing energy of fandom at its most rabid and psychically intrusive.
  11. Chronicle
    A few more bucks (or a little more thought) for the script would have been a better investment than faking Seattle. The characters are introduced so quickly, and their personalities are so thin, that what happens to them has little weight.
    • 41 Metascore
    • 0 Critic Score
    Journey 2: The Mysterious Island
    The movie's flexibility with its own rules would be less noticeable if it were busy thrilling us.
    • 52 Metascore
    • 50 Critic Score
    Safe House
    Swedish director Daniel Espinosa isn't as adept at chase scenes as "Bourne" director Paul Greengrass: We sometimes lose track of who's supposed to be where and which direction the bullets are flying.
  14. W.E.
    Conceived and directed by Madonna, W.E. is a gorgeous mess.
  15. The Vow
    The romantic drama The Vow looks like the kind of annual Valentine's Day staple that arrives just as calls start flooding flower shops and chocolate bonbon displays invade your local CVS.
  16. Pina
    The result is a panorama of emotion, in which one dancer exhibits pure joy and another severe aching. As Bausch notes early in the film, words alone cannot describe something, nor can dance. One medium has to pick up where the last has left off. The disembodied words seem to get to the heart of that idea.
    • 64 Metascore
    • 50 Critic Score
    The Innkeepers
    It's not going to shake up the fright-flick world one bit, but The Innkeepers may earn affection from genre-lovers whose memory reaches back to before "The Blair Witch Project."
  18. Big Miracle
    As the minutes tick down, the sentimentality picks up. But chalk that up to the enigmatic creatures, which grab hold of human hearts no matter one's politics or affiliations. Whales just have a way of bringing people together.
  19. The Woman in Black
    Director James Watkins knows how to make a body jump out of its skin, even if he does use the face-reflected-in-the-mirror/window trick once too often. At the same time, the film is kind of, well, silly.
  20. Man on a Ledge
    Man on a Ledge has its diverting moments, but by the time it has reached its too-pat final twist, it turns out to be a title desperately in search of a movie.
  21. Albert Nobbs
    Like the man himself, Albert Nobbs is a sweet, sad, sensitive little film, a haunting reminder that each of us, on some level, is impersonating someone.
  22. The Grey
    The setting and fatalistic musings of The Grey invite comparison to Sean Penn's stirring 2007 ad­ven­ture "Into the Wild"; in its more metaphysical moments, told in impressionistic flashbacks, it recalls last year's "The Tree of Life."
  23. The Divide
    As it is, The Divide is simply noxious for noxiousness's sake. French director Xavier Gens and writers Karl Mueller and Eron Sheean almost seem to take a kind of perverse pride in seeing how far they can go.
  24. Extremely Loud and Incredibly Close
    There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
  25. Red Tails
    The war-movie cliches are as abundant as the antiaircraft fire, and the dialogue as wooden as a balsa glider. The leading characters are issued one personality trait apiece, and some don't even get that. Cuba Gooding Jr., for example, plays Maj. Emanuelle Stance as a man who smokes a pipe.
  26. Haywire
    One of the reasons Haywire is such a pleasure to watch is that its director, Steven Soderbergh, doesn't overplay the film's hear-me-roar subversions.
  27. Contraband
    Watching it leaves you feeling less buzzed than jittery and slightly nauseated. If the "Ocean's" movies were martinis, Contraband is a thermos full of coffee.
  28. In the Land of Blood and Honey
    If viewers are left feeling just as impotent as many of the characters, that may be precisely what Jolie intended for a film that asks nothing more of its audience than to bear witness.
  29. Joyful Noise
    Despite some mawkish dialogue, there's something to be said for leaving the theater with a smile. Can I get an amen?
  30. The Iron Lady
    Can a performance be too good? Meryl Streep disappears so uncannily into former British prime minister Margaret Thatcher in The Iron Lady that her performance overpowers the movie it's in - a perfectly executed triple axel that renders everything else just featureless ice.
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