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. The Beaches of Agnès
    For filmgoers determined to see cinema not just as mass entertainment but as an art form, The Beaches of Agnes arrives like an exhilarating call to arms.
    • 70 Metascore
    • 50 Critic Score
    Public Enemies
    It's also a double-barreled bummer. There's no excitement in the bank-robbing, no thrill of the chase, no emotion over justice served or thwarted. Depp's Dillinger is neither charming nor despicable, nor does he occupy that delicious gray area between the two. His spree unspools dispassionately, cold as a Colt .380.
  3. Ice Age: Dawn of the Dinosaurs
    Scrat's annoying ubiquity -- is just one piece of evidence that Dawn of the Dinosaurs has been focus-grouped and is now trying to please its presumed young audience a little more than is healthy.
  4. The Hurt Locker
    When viewers are ultimately released from The Hurt Locker's exhilarating vice grip, they'll find themselves shaken, energized and, more than likely, eager to see it again.
  5. My Sister's Keeper
    Within this structurally baggy weepie, at least two perfectly good movies fight to break free, one a provocative legal thriller, the other a melodrama.
  6. Afghan Star
    Afghan Star goes much deeper, eloquently conveying the tensions, small victories and shattering setbacks of a fragile democracy struggling to regain a once-flourishing culture.
  7. Chéri
    Cheri looks terrific, if a bit gauzy at times, and Frears, who directed Pfeiffer in that other Frenchified frolic, "Dangerous Liaisons," is never at rest. Still, the movie bogs down by going nowhere other than inside its characters, who are intensely passionate but of an era more curious than emotionally relevant.
    • 50 Metascore
    • 30 Critic Score
    The Stoning of Soraya M.
    Iranian American director Cyrus Nowrasteh, co-writing with wife Betsy Giffen Nowrasteh, has amplified the basic elements of Suraya's story into the worst kind of exploitive Hollywood melodrama, presented under the virtuous guise of moral outrage.
  9. Transformers: Revenge of the Fallen
    Much of Transformers: Revenge of the Fallen is simply despicable.
  10. Whatever Works
    This toxic, contemptuous, unforgivably unfunny bagatelle finds Allen at his most misanthropically one-note.
  11. The Proposal
    It's as predictable and comforting as a Happy Meal, but it must be said that The Proposal manages to elicit some genuinely amusing moments.
  12. Year One
    A lowbrow, only fitfully amusing comedy.
  13. $9.99
    A charming, poetic and at times surreal stop-motion animation co-written with Etgar Keret and based on the Israeli writer's short stories.
  14. The End of the Line
    The movie does present solutions, including its urging of consumer demand for more accountability from restaurants and the building of marine reserves.
  15. Under Our Skin
    Under Our Skin has a major ax to grind, but if even half of what it alleges is true, it's more deeply terrifying than any slasher film you'll ever see.
    • 67 Metascore
    • 50 Critic Score
    Moon
    Storywise, Moon fails to live up to the promise of its premise. There's plenty of atmosphere, but little gravity.
  17. Food, Inc.
    See Food, Inc. after dinner, but see it.
  18. The Taking of Pelham 1 2 3
    If a few decent actors play their roles and defend their turf, it doesn't matter how preposterous the whole proposition is.
  19. Imagine That
    It's refreshing that in effects-happy Hollywood, Evan and Olivia only imagine their travels, rather than run a gantlet of computerized hallucinations. This may turn out to be one of the more endearing aspects of Imagine That to its younger audiences.
  20. Youssou Ndour: I Bring What I Love
    But by far the most powerful element is N'Dour's lone voice, a thing of high, pure beauty that feels at once ancient and new. When he sings, an otherwise earnestly conventional film becomes a vehicle of incantatory power.
  21. Tetro
    Tetro has no internal tension and should have been a comedy.
  22. The Hangover
    Sitting through The Hangover is like watching "Memento" featuring the Three Stooges.
  23. Séraphine
    The line between madness and genius is thin. Not to mention more than amply explored in any number of films about tortured artists. But to look at the almost religious ecstasy on Moreau's face is to feel the artist's passion and be inspired by it.
  24. Away We Go
    It's in these vignettes that Away We Go begins to feel less like an authentic exploration of identity than a condemnation of the very community the couple pretends to crave. No one, it turns out, is good enough for Burt and Verona.
  25. Land of the Lost
    It's cheap-looking (dinosaurs and other beasts here look like CGI loaners from Spielberg), deeply mediocre and predictable.
    • 34 Metascore
    • 30 Critic Score
    My Life in Ruins
    Fittingly, My Life in Ruins goes downhill after its title.
  27. Herb & Dorothy
    You can't hate the film anymore than you can hate Herb and Dorothy. But this is lazy work.
    • 66 Metascore
    • 70 Critic Score
    Unmistaken Child
    Unmistaken Child: adorable, moving, bewildering, sad and, ultimately, peaceful.
  29. Up
    The result is a soaring, touching, funny and altogether buoyant movie that lives up to its title in spirit and in form.
  30. Drag Me to Hell
    As in the best horror movies, Drag Me to Hell keeps the audience on the edge of hysteria throughout, so that every thump sets the heart racing and every joke earns a slightly out-of-control laugh.
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