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 5.3 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 Hoax
    Even though we're caught up in his derring-do as he beguiles entire meeting rooms of jaded publishers and editors, we're kept at a dissatisfying distance from Irving and the movie.
  2. The TV Set
    Often possesses the gimlet-eyed wit of "The Player" or the mock docs of Christopher Guest.
  3. The Reaping
    If only The Reaping had the decency to be coherent.
  4. Are We Done Yet?
    John C. McGinley from "Scrubs" gets to strut some of his comic stuff as the deranged builder, but he's the only passable feature in a property that should be condemned.
  5. Firehouse Dog
    Firehouse Dog goes into the marginally watchable category, aimed as it is toward the middlebrow family trade, preferably dog owners with their own Sparky slopping up the station wagon windows.
  6. Black Book
    The new Dutch film Black Book manages to turn World War II into a large piece of cheese. A lurid, pulpy, slightly perverse potboiler, the movie suffers mainly from its utter lack of seriousness.
  7. Killer of Sheep
    See Killer of Sheep, and see it again and again. It's one of those truly rare movies that just get better and better.
  8. Blades of Glory
    To see seemingly reg'lar guys utterly stripped of dignity and defense is cruel enough, but crueler still is the laughter that you cannot seem to stop from rupturing your lungs and aorta.
  9. The Lookout
    The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
  10. Meet the Robinsons
    An animated feature (showing in 3-D in select theaters), has a couple of clever tricks that make it worth wearing those dumb, uncomfortable glasses. But this would be as delightful and attractive a production without the gimcrackery.
  11. After the Wedding
    Wedding has enough coincidences, screamfests, drunken rants and shock revelations to fill a season of "Desperate Housewives," but it comes across as finely textured drama, thanks to the performers, who make their characters so persuasive and three-dimensional, we're too mesmerized to care about the story's more overwrought or histrionic passages.
    • 53 Metascore
    • 70 Critic Score
    Shooter
    It's a story that can be transplanted from genre to genre, because we never grow tired of it, which is to say that it fits snugly into the paranoid drift of American movies, and the value we place on one honest man with a gun.
  13. The Last Mimzy
    The best element of the movie is a subplot involving Noah's spiritually obsessed teacher (Rainn Wilson) and his wacky girlfriend (Kathryn Hahn), whose bumbling eccentricities give the movie an emotional liveliness it otherwise lacks.
  14. Pride
    Inspired by the true story of Ellis, has Hollywood formula practically stitched to its Speedo. But the characters and the actors who play them are so captivating, we're too entertained and charmed to notice.
  15. Reign Over Me
    Binder has set a difficult bar -- to make a funny, sad, original movie about the healing power of not necessarily healing -- and he just manages to clear it.
  16. TMNT
    The upshot is that the film is technically superb and quite enjoyable as long as you don't bang your head against the plot.
    • 56 Metascore
    • 30 Critic Score
    Boy Culture
    Opportunities for dramatic tension, comedic effect, erotic energy, even just flat-out weirdness -- all are squandered by Brocka and the actors in a haze of blandness that gives the film all the edge of a particularly gay Gap commercial.
  18. Color Me Kubrick
    Color Me Kubrick is like a nice, deep, clear cocktail of ammonia on the rocks: bracing, comic, astonishing, all of which hide its poison center.
  19. First Snow
    A movie that clearly aims to be a cool, picturesque modern film noir becomes another moody banality.
  20. Offside
    Along with such colleagues as Abbas Kiarostami and Moshen Makhmalbaf, Panahi has perfected the art of realist filmmaking,
  21. The Page Turner
    What The Page Turner lacks in scale and ambition, it makes up for in precision. It's a small French delicacy, tart, acerbic and cynical, that focuses on three or four characters and yet manages to bring them and their dilemmas to vivid life.
  22. The Prisoner or: How I Planned to Kill Tony Blair
    It is a film rich in detail, the kind that simply never emerges in the nightly news accounts of the war.
  23. Behind the Mask: The Rise of Leslie Vernon
    The movie has more cleverness than violence, and its breakdown of cliches is vivid and witty. Baesel is an extraordinary presence, holding the film together with his mesmerizing performance, charm and openness, and Goethals measures up to him.
  24. I Think I Love My Wife
    The movie is hilarious...there's Rock's encounter with Viagra, which I can't describe but has to be one of the funniest scenes of the decade.
  25. Premonition
    Sandra Bullock is a disheveled, grumpy, adorable mess in Premonition, a psychological thriller that was no doubt pitched as "Medium," only longer and brunette. Or maybe "The Eternal Sixth Sense of the Spotless Groundhog Day."
  26. My Brother
    What it possesses in heart and goodwill, it sorely lacks in narrative skill and artistic depth.
  27. The Wind That Shakes the Barley
    Director Ken Loach is full of astonishments. An avowedly leftist filmmaker, he has always seen beyond political cant to compassionate reality. He's also incredibly sensitive to what might be called the nuances of life, and he always brings a high sense of spontaneous reality to his films.
  28. 300
    It's kind of a ghastly hoot, and while I suppose it does no harm, it also contributes nothing. It's a guilty unpleasantness.
  29. The Host
    It's the last thing anyone expected: an old-fashioned monster movie with a heart.
  30. Beyond the Gates
    The film may employ the well-worn tradition of filtering African stories through the experiences of Europeans, but they use the conceit for some penetrating revelations.
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