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. Colombiana
    Colombiana, though, doesn't quite qualify as a chick flick. The filmmakers were surely thinking of the guys when they arranged for Saldana to play many of her scenes in a cat suit, a bikini or lingerie.
    • 75 Metascore
    • 88 Critic Score
    Attack the Block
    In the end, police descend on the block at the very moment their presence becomes irrelevant. They misinterpret everything; locals watch as they blame all the wrong people. Soon their flashing lights will drive away, and the block will go back to taking care of itself the best it can.
  3. Senna
    Senna is what film critics might call a TMSI movie, as in: Trust me, see it.
  4. Chasing Madoff
    Director Jeff Prosserman's retelling borders on reprehensible, as he attempts to heighten an already powerful tale with a parade of needless bells and whistles, from flashy camera work to melodramatic reenactments. What a shame, because the story is truly astonishing.
  5. Brighton Rock
    There's a lovely moment with Mirren and John Hurt that helps send Brighton Rock toward its final note of tenderness. With so much style to burn, Joffe handles the tinge of Greene-ian ambivalence just right.
    • 56 Metascore
    • 75 Critic Score
    Don't Be Afraid of the Dark
    Feels retro in all the right ways; it's a bump-in-the-night tale that, if not for the occasional glimpse of a cellphone or reference to Adderall, could have been told decades ago.
  7. Our Idiot Brother
    There are times when Our Idiot Brother possesses a loping, genial sweetness. But it lacks conviction, and it doesn't hold a beeswax candle to such similarly themed films as "You Can Count on Me" and "Momma's Man."
    • 36 Metascore
    • 38 Critic Score
    Conan the Barbarian
    Those nostrils do a lot of Momoa's acting, to be honest. As right as he is looks-wise, Momoa falls short in attitude.
  9. Fright Night
    It stands apart from the rehash pack by accomplishing something rival remakes rarely do: It improves on the premise it has been handed, producing a modernized version of a decades-old story that's superior to its predecessor in virtually every aspect.
    • 50 Metascore
    • 38 Critic Score
    Final Destination 5
    Isn't as novel as it hopes to be, but it gets the job done.
    • 31 Metascore
    • 25 Critic Score
    5 Days of War
    A tired old quote about truth being the first casualty of war is a strange way to start 5 Days of War, an overwrought drama that, whatever its good intentions, could hardly be said to aim for objectivity in its account of the 2008 conflict between Russia and Georgia.
  12. One Day
    One Day often seems too tame for its own good, as if its spirited protagonists were censoring themselves in deference to a PG-13 rating.
  13. 30 Minutes or Less
    Akin to watching a ring-tested champion punch far below his weight. What a comedown.
  14. The Guard
    Hip, lurid and improbably lovable, The Guard is easily the best guy-love comedy of the summer, with Cheadle and Gleeson's riffs and repartee tumbling back and forth as if they've been trading lies over Guinness forever.
  15. The Whistleblower
    A classic example of a film that doesn't trust the strength of its source material - or the intelligence of its audience.
  16. Glee: The 3D Concert Movie
    At its best, it's joyful, uplifting and even, occasionally, moving. And at its worst, it's a propaganda piece designed to win our undying loyalty to a TV show/cash cow that advocates for the little guy even though it's clearly turned into a diva.
  17. The Help
    As affectionately as Taylor has brought The Help to the screen, and as gratifying as it is to watch Davis and Spencer bring Aibileen and Minny to palpable, fully rounded life, their narrative, like "The Blind Side" a few years ago, is structured largely around their white female benefactor.
  18. The Devil's Double
    In the end, The Devil's Double is one long balance sheet. On the plus side are the dueling performances of Cooper, which anchor the film. On the minus side is a seemingly interminable litany of violence, abuse and degradation. They cheapen the film by nudging it in the direction of a splatter flick.
  19. The Future
    What does The Future hold? Wonders, each of them weirder and more unnerving than the last.
  20. Another Earth
    As large as Earth Two looms - literally - in the frames of Mike Cahill's film, so do its implications. It's one big, honking metaphor, as much as a special effect. As a symbol of second chances, it's as intriguing as it is frustratingly obvious.
  21. Rise of the Planet of the Apes
    Now for the bad news. The filmmakers seem to have spent so much attention and, presumably, money on getting the primates right that they completely forgot about the people.
  22. The Change-Up
    As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
  23. Life in a Day
    Life in a Day is, without exaggeration, a profound achievement.
  24. Sarah's Key
    A movingly told tale of tragedy and its consequences, not just for the players in the original tragedy but also for those touched by their actions, in an ever-widening circle of aftershocks.
  25. World on a Wire (1973)
    Seen now, the movie seems as timely as it is outdated, its themes contemporary even if its clothing and hairdos are anything but.
  26. Project Nim
    An absorbing, agonizing documentary about ambition, lust and anthropomorphism at their most heedless, records suffering and manipulation so extreme that description can barely do them justice.
  27. The Smurfs
    The Smurfs is exactly like Amy Adams's princess-in-Manhattan comedy "Enchanted," only far less clever, kindhearted, original, exciting or entertaining.
  28. Crazy, Stupid, Love
    With its contrived setups, preposterous coincidences and calculated sentimentalism, Crazy, Stupid, Love seems beamed from the same alternate reality as "Larry Crowne." We might enjoy the ride while we're on it, but it will seem like a visit to another planet once we're home.
  29. Cowboys & Aliens
    A loving throwback to the classic westerns and sci-fi adventures of yore, this celebration of two of cinema's most revered genres doesn't stint in lavishing their most cherished conventions with even-handed affection and respect.
  30. Snow Flower and the Secret Fan
    The books-trump-movies camp knows where this is headed: The film version - contains two characters and one narrative too many.
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