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. Snakes on a Plane
    The movie's highest level of artistic expression was the ingenious Internet campaign that catapulted it to culture phenom months before it even opened. The thing itself turns out to be pretty much an afterthought, cheesy and not very well worked out.
    • 47 Metascore
    • 40 Critic Score
    Accepted
    Take the cast of 1978's "Animal House" and 1984's "Revenge of the Nerds," toss them on a desert island, watch them breed and enroll their raucous, kvetching offspring at a college for rejects. A fluffy teen comedy, Accepted gets annoying fast.
  3. The Illusionist
    Rather than taking viewers on a twisty, provocative journey through a mazelike meditation on appearance and reality, The Illusionist finally just sits there, looking like a very well-produced pilot for PBS's "Mystery!" series. It's a sophisticated snooze.
  4. Factotum
    The film looks great on the screen, and Hamer has commissioned a terrific musical score from Kristin Asbjornsen, who has set a few of Bukowski's poems to haunting, jazzy music.
  5. Trust the Man
    Trust the Man quickly begins to feel hopelessly derivative of other, better movies.
  6. Conversations with Other Women
    The film ultimately becomes too contrived to be anything but a fleeting diversion, but kudos to these emerging filmmakers for daring to make something a little bit different and, for the most part, intriguing.
  7. Pulse
    American director Jim Sonzero has taken the same campus setting and plot and added some rationale by "science-fictioning" it.
  8. Step Up
    Tatum, the hunky object of Amanda Bynes's fancy in "She's the Man," and an engaging basketballer in "Coach Carter," is the best thing about this uninspired formula-thon.
  9. Half Nelson
    Nearly every scene rings with its own ragged truth, which becomes increasingly painful as Dan's addiction becomes more unmanageable and as he refuses to confront the untenable politics of his own behavior.
  10. Poster Boy
    Although audiences will admire the film's do-it-yourself energy and commitment, Poster Boy finally collapses of its own contrived weight, deflating just when it should soar into madcap -- or at least thoughtful -- satire.
  11. House of Sand
    Visually dazzling, epic in its sweep and deeply romantic in its sensibility, The House of Sand is one of those films whose images and ideas linger long after the lights come on, having been burned into the viewer's consciousness.
  12. World Trade Center
    It telegraphs its emotions loud and clear, but somehow they don't reach us.
  13. The Descent
    Marshall keeps the film lean and focused. He does have a nice taste for horror imagery.
    • 42 Metascore
    • 50 Critic Score
    Barnyard
    Will entertain the kids; not so much the grown-ups.
  15. The Night Listener
    Aiming to blur the distinctions between truth and illusion, it simply blurs its own effectiveness by relying on predictable and not particularly convincing mystery-thriller formula.
  16. Talladega Nights: The Ballad of Ricky Bobby
    Comedy, of course, is a complicated dance between rhythm and timing, but Talladega Nights drags where it should be crackling and popping.
  17. The Bridesmaid
    Chabrol arranges his story with a subtle, almost clinical accumulation. And it takes close attention to the movie's seemingly innocuous details to understand his deeper purposes.
  18. My Country, My Country
    The movie attempts to paint too large a canvas.
  19. Quinceañera
    It's not fierce, it's not angry, it's not radical, it's polite and what might be called "life-affirming." But it does have a couple of attributes most movies don't.
  20. Boynton Beach Club
    There are plenty of reasons to like the movie, such as its genuinely gentle wit, its occasional capture of the absurdities of aging and its endorsement of the permanence of lust, but one factor in particular is its brilliant cast of discarded '70s-era Hollywood stars.
  21. Miami Vice
    Farrell appears to be a rarity in undercover culture, a vice cop who goes on the lowdown as an Irish beatnik. Oh, that's a good disguise for South Beach. As for Foxx, he's still channeling Ray Charles through squinty eyes and a kind of shaky head. They have zero chemistry.
  22. Scoop
    This gives nobody, least of all me, any pleasure, but a truth must be faced: Scoop is the worst movie Woody Allen has ever made.
  23. John Tucker Must Die
    But despite doing its best to jiggle, giggle and ogle its way into a niche somewhere between "Heathers" and "American Pie," it becomes just another forgettable pastiche of sight gags and pop-culture references.
  24. The Ant Bully
    The movie is an epic adventure with a rigorously moral point of view.
    • 61 Metascore
    • 30 Critic Score
    13 Tzameti
    These actors move with the labored blocking of a high school play.
  26. Another Gay Movie
    Whether or not it's crucial for the gay community to have its own "Porky's" is a question for the ages; but please, not Another Gay Movie.
  27. Brothers of the Head
    Ultimately, Brothers is a flashy, stylistic show of emptiness, intended to protest emptiness. But that's clear almost from the outset.
    • 80 Metascore
    • 80 Critic Score
    Little Miss Sunshine
    Mostly it's just funny. Really, really funny.
  29. Shadowboxer
    If only Shadowboxer had gone for more than an unwavering commitment to imitate better movies, it might have been one for the cult shelves at the video store. Right now, you'll be lucky if you find it in the giveaway bin.
  30. Clerks II
    Clerks II finds Smith up to the profane, raunchy, profoundly humanist mischief of which he alone is the master. This is a lewd, lascivious, exhilaratingly life-affirming celebration of misfits and the misfits who love them.
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