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. Me and Earl and the Dying Girl
    Me and Earl and the Dying Girl succumbs to the same cloying too-cuteness and solipsism that often plague its glib and sentimental genre. But those limitations are leavened by the film’s lively, ultimately affecting flourishes and sprightly voice.
  2. Gemma Bovery
    The movie winks and nudges its way through a lighter, modernized variation of the classic, proud of its own cleverness every time Gemma’s life mirrors Madame B’s. But imitation for the sake of itself isn’t brilliant, especially when the elements most worthy of copying — Flaubert’s precise narration and telling details — don’t make the cut.
  3. When Marnie Was There
    There is a quality of enchantment to When Marnie Was There that can’t be faked, and that the studio behind this animated feature is justifiably famous for.
  4. Love at First Fight
    The actors make the movie’s memorable characters all the more indelible, even when Love at First Fight loses its sense of originality.
  5. Testament of Youth
    Vikander never goes for the easy emotion, though, choosing instead to play against what conventional melodrama would dictate her reaction should be. This understatedness is always the right choice, and it makes for a far more effective — and affecting — film.
  6. Jurassic World
    The most enjoyable moments of an otherwise oddly joyless film actually belong to Jake Johnson and Lauren Lapkus, who steal the show in an especially amusing scene during a panicked evacuation.
  7. Insidious: Chapter 3
    The “Insidious” franchise, after three attempts to exorcise its real demons, still can’t seem to shake what really haunts it: the ghost of B-movies past.
  8. Aloft
    The characters in Aloft seem to float over their strong passions, like birds riding on columns of air, without ever alighting. I kept waiting for the sharp sting of a talon to take hold of my heart, but it never came.
  9. The Connection
    Director Cédric Jimenez, who wrote the movie with Audrey Diwan, has created a slow burn of a movie. The action is intermittent, but a steady tension keeps things interesting.
  10. Freedom
    In the world of Freedom, slaves and the people who help them are Christians, and the bad guys don’t believe in God.
  11. Love & Mercy
    It’s difficult to make a visually dynamic movie about people listening. But that’s precisely what Pohlad has done with both sensitivity and audaciousness, on the one hand attuning his protagonist to the music of the spheres, and on the other bearing witness to his deepest isolation and sadness.
  12. Results
    Results is a smooth transition for Bujalski from the fringes to more commercial work. It’s heartening that he didn’t give up his calling-card observational humor to do it.
  13. Salad Days
    While the movie is best viewed as an examination of a specific place and time, it also can be seen as a celebration of a larger, more generic cultural phenomenon that one might call creative foment.
  14. Spy
    As cinema, Spy is content to cater to its own conventions, hit the required marks and earn a few laughs along the way. As a cultural bellwether, it does something bigger and more important, without ever italicizing that fact.
  15. Entourage
    Piven is so in the pocket as the smarmy, aggressive, inappropriate Ari that, when the movie he’s in does little more than double down on the bro-ing out, the whiffed opportunities become all the more obvious.
  16. Dark Star: HR Giger's World
    Although he comes across as a sort of elfin crypt-keeper in this intriguing portrait by documentarian Belinda Sallin, Giger was also, quite literally, close to death.
  17. Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
    What happened to almost an entire generation of musicians in Cambodia isn’t a scandal. As “Forgotten” makes powerfully, passionately clear, it’s a tragedy.
  18. Survivor
    Director James McTeigue frequently collaborates with the visionary Wachowski siblings, and he directed V for Vendetta. How the man who blew up Parliament in such memorably spectacular fashion can’t add some originality to Philip Shelby’s script is the movie’s only real mystery.
  19. Sunshine Superman
    Sunshine Superman might seem like a niche story, with its focus on stunts that most people wouldn’t dream of actually doing, but the documentary feels universal. It’s simply an examination of how one man fully embraced life while charting his own path.
  20. San Andreas
    The dialogue in San Andreas is lame, its plot both predictable and implausible, and the character development beside the point. Even Dwayne Johnson, that force of cinematic nature and rock-ribbed charisma, doesn’t have enough charm to dig this mess of a movie out of the rubble of cliche it’s buried in.
  21. Aloha
    Somewhere on the incoherent pu pu platter that is Cameron Crowe’s Aloha, a nifty romantic comedy congeals and shrivels, inexplicably untouched.
  22. Poltergeist
    To call Poltergeist laughable is not the same thing as saying it’s bad (although it is that, too.) It’s just that it seems less interested in scaring you than in making you chuckle. At least on that score it succeeds.
  23. The 100-Year-Old Man Who Climbed Out the Window and Disappeared
    Whimsical, fantastical and self-consciously charming, it slinks around viewers’ ankles like an affectionate cat, purring ever more loudly until the audience can’t help but succumb.
  24. Félix And Meira
    That we almost don’t question the plausibility of this oddest of odd couples is a tribute to the sensitive direction of French Canadian filmmaker Maxime Giroux, who wrote the relatable yet keenly observant script with Alexandre Laferrière.
  25. Marie's Story
    The movie by Jean-Pierre Améris milks the tears in the home stretch, making little effort to hold the melodrama at bay. The result is a story that everyone can feel great about feeling terrible about.
  26. In the Name of My Daughter
    In the Name of My Daughter has good intentions of taking a sensationalistic riddle and turning it into a human story. But the pendulum ultimately swings too far, leaving an explosive tale behind in favor of one that fizzles out.
  27. Good Kill
    Admittedly, Niccol succumbs to the temptation to make mini-billboards out of his dialogue, in which arguments follow neat “on the one hand” trajectories. But for the most part, Good Kill asks pertinent, enduring questions, not by way of polemic, but through the study of a character.
  28. Slow West
    [A] meandering, deliberate and tearless — yet oddly moving — western vehicle.
  29. I'll See You in My Dreams
    There’s something refreshingly realistic about the director’s approach. The movie has an unhurried pace, letting the camera linger over long conversations.
  30. Tomorrowland
    Maybe the ultimate goal of Tomorrowland remains obscure because once you know where the story is headed, you realize it’s a familiar tale. The movie can conjure up futuristic images, but the story is nothing we haven’t seen before.
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