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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    • 70 Metascore
    • 80 Critic Score
    Freaky Friday
    Terrific at capturing what teenage behavior would look like on a grown-up.
  2. Zero Day
    The movie can't help but resonate with a ripped-from-the-headlines topicality.
  3. And Now... Ladies and Gentlemen...
    An exercise in vanity, indulgence and a startling degree of shallowness.
  4. The Secret Lives of Dentists
    Roundly entertaining.
  5. The Magdalene Sisters
    Mullan's movie is admiringly uncompromising. He refuses to augment the horrors with relief.
  6. American Wedding
    If you do not bring pride, good taste or sense to this third American Pie installment, you'll have a good time.
  7. Gigli
    Enervated, torpid, slack, dreary and, oh yes, nasty, brutish and long.
  8. Lara Croft Tomb Raider: The Cradle of Life
    In a summer of surprisingly self-serious comic book movies" Lara Croft "stands out as being particularly humorless.
  9. Mondays in the Sun
    It's a long and relatively underdramatized film, but it's powerfully true.
  10. Buffalo Soldiers
    Suffers from melodramatic overkill.
  11. Hotel
    An ambitious, experimental mess of a movie in search of something more profound.
  12. Seabiscuit
    Although nowhere near the class of its equine hero, is quite a satisfying ride.
  13. Lucía, Lucía
    I love a good story, too, but I prefer one that actually goes somewhere (although, as joy rides to nowhere are concerned, this one is a beaut).
  14. Spy Kids 3-D: Game Over
    Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
  15. Camp
    Occasional clumsiness is easily coated over by the movie's overarching goodwill.
  16. Masked and Anonymous
    Simply painful to watch as the doomed vehicle it's trapped in comes whistling toward a fiery crash landing.
  17. Johnny English
    Delivered with the kind of English aplomb that PBS audiences around the country have come to know and love. It must be the accent.
  18. The Embalmer
    A bummer, but one that manages to stick to its depraved convictions until the strange and bitter end.
  19. How to Deal
    A bad, unimaginative story posing pretentiously as the very opposite.
  20. The Sea Is Watching
    It has the big themes that obsessed Kurosawa at his greatest, and that alone makes it worthwhile.
  21. Dirty Pretty Things
    One of the year's best films.
  22. Bad Boys II
    Just like "Bad Boys," only louder, longer and the stars get paid more.
  23. September 11
    A crashing letdown.
  24. A Housekeeper
    Even if the film is only moderately enjoyable, it can create a sort of exotic escapism.
  25. Northfork
    It's just too lost in its own presumed self-enchantment.
  26. The Cuckoo
    It's a whimsical tale of war and redemption, of faith, hope and even some charity...It's quite a treat, as a matter of fact.
  27. I Capture the Castle
    Could have been a sensation if a director with a smidgen of moviemaking instinct had taken the helm.
  28. The Holy Land
    The acting of the main cast is uniformly nuanced, and, except for some bad makeup on Mendy's father, the film never looks as low-budget as it must have been.
  29. The League of Extraordinary Gentlemen
    It's not brazenly bad or heroically bad or stridently bad. It's bad in all the old, dull ways of being bad: poor performances, absurd story, dreary special effects, witless dialogue and the excessive length of someone taking himself far too seriously.
    • 59 Metascore
    • 80 Critic Score
    Madame Satã
    Shot almost entirely on location with a hand-held camera, director Karim Ainouz's film draws you in close. The charisma and intensity of Lazaro Ramos as Joao holds you there.
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