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 5.4 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. State of Play
    Features a handsome production and terrific performances.
  2. 17 Again
    Engaging but pedestrian comedy.
  3. American Violet
    What sticks in my craw -- just a bit -- is the way the film doesn't fully trust the true story's inherent power.
    • 76 Metascore
    • 90 Critic Score
    Every Little Step
    A thoroughly engrossing documentary.
  5. Is Anybody There?
    Caine is magnificent, and the film is worth a look for his contribution alone. But Milner is a promising actor, too, and the pairing of young and old is believable and occasionally very moving.
  6. Lemon Tree
    Riklis has made a powerful film, but can a powerful film change anything about the fatalistic culture of powerlessness that is felt throughout Palestine and Israel? The irony of Lemon Tree is that what it achieves adds, in the end, to the sense that nothing can unravel this mess.
  7. Hannah Montana: The Movie
    The singer-actress has screen presence to spare and a nice, rich voice. By the time her young fans outgrow her -- or she them -- she should have an excellent chance at a second career. Making, you know, real movies and real music.
    • 38 Metascore
    • 50 Critic Score
    The Mysteries of Pittsburgh
    Pleasant-to-watch, easily forgotten drama.
  9. Observe and Report
    Cruel, unfunny and yet somehow perversely fascinating.
    • 64 Metascore
    • 70 Critic Score
    Lymelife
    Directed by first-timer Derick Martini and produced by Martin Scorsese, balances grimness and levity with relative success. It stops short of quirk. It only flirts with "American Beauty"-style hyperbole. It falls somewhere in between, thanks to Martini's steady hand and a bunch of reliable actors working in good form.
  11. Adventureland
    Thanks to an exceptionally deft touch, Mottola manages to capture the absurdity and anguish of young adulthood, while never sacrificing meaning on the altar of crude humor.
  12. Sugar
    A film of rare intelligence, beauty and compassion.
    • 48 Metascore
    • 50 Critic Score
    Alien Trespass
    Those who fondly recall "The Blob" would seem to be the target crowd for a fastidious pastiche that attempts to coax laughs by maintaining a poker face.
  14. Fast & Furious
    The reunion is fun and frantic, like the original on double nitro.
    • 40 Metascore
    • 50 Critic Score
    Paris 36
    A handsomely made French musical that never really soars.
    • 74 Metascore
    • 70 Critic Score
    The Song of Sparrows
    At times tedious but ultimately beguiling, Song of Sparrows morphs from a sly dramedy about running a household into a fable about two ways of life (urban and rural) that can't coexist.
  17. Tulpan
    To certain serious world-cinema aficionados, though, Tulpan's combination of understated comedy and documentary-level depiction of rural Kazakh life will be catnip.
  18. Goodbye Solo
    Goodbye Solo is visually simple and stunning, especially the haunting nightscapes of Solo's perambulations. But more important, Goodbye Solo is driven by deep feeling and sensitivity. Don't miss it.
  19. Monsters vs Aliens
    Has bells and whistles, superb technical sophistication and dazzling visual effects, sound, fury and Reese Witherspoon. What it doesn't have is heart. Like so many vehicles that have popped out from the DreamWorks Animation snark tank, Monsters vs. Aliens is too clever by half.
  20. Spinning Into Butter
    The movie suffers most of all from a feeling of creeping irrelevance, as if it's being delivered well after its sell-by date.
    • 70 Metascore
    • 50 Critic Score
    Shall We Kiss?
    It is as if the director had studied the comedies of Eric Rohmer and Woody Allen from top to bottom and come away with all the wrong lessons.
  22. Knowing
    Yes, Knowing is creepy, at least for the first two-thirds or so, in a moderately satisfying, if predictable, way.
    • 77 Metascore
    • 100 Critic Score
    Sin Nombre
    An elegant, heartbreaking fable, equal parts Shakespearean tragedy, neo-Western and mob movie but without the pretension of those genres.
  24. I Love You, Man
    After delivering scene-stealing turns in "The 40-Year-Old Virgin" and "Knocked Up" Rudd claims the much-deserved spotlight in I Love You, Man, which in its own endearing way tweaks the very same male-bonding pieties that those movies made a fortune celebrating.
  25. Duplicity
    It's smart, it's for grown-ups and it lets Julia Roberts laugh, if just once.
    • 63 Metascore
    • 50 Critic Score
    The Great Buck Howard
    Malkovich has a role that coulda-woulda-shoulda been a sensation if he had had a different director and different co-stars.
    • 61 Metascore
    • 40 Critic Score
    Sunshine Cleaning
    A boring, choppy dramedy.
    • 42 Metascore
    • 50 Critic Score
    The Last House on the Left
    In the end, like virtually every other remake that has been released recently, it's polished and predictable.
  29. The Edge of Love
    That none of the protagonists earns the audience's sympathy is more likely a failure of the real-life characters rather than the actors, who deliver fine performances -- especially Rhys, who seems to be channeling Richard Burton channeling Dylan Thomas at his most manipulatively loutish.
    • 52 Metascore
    • 60 Critic Score
    Race to Witch Mountain
    Race to Witch Mountain has Johnson, who lifts the script above its conventional cat-and-mouse stratagems with his buoyant wiseacre timing.
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