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. Innocence
    It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
  2. The Identical
    The music is catchy and sounds sufficiently Elvis-like, and The Identical occupies a neglected niche as a family-friendly movie that isn’t geared just toward kids. But living up to a legend is an uphill battle, and the movie doesn’t ever reach those heights.
  3. The One I Love
    Duplass and Moss are so good, and their reactions to the frankly nutty circumstances of the film are so plausible, that the preposterous premise of the story hits home both conceptually and emotionally.
  4. The Last of Robin Hood
    Ultimately the movie feels like an empty exercise. Sure, it’s a cautionary tale about the pitfalls of fame. But when the one figure most worthy of our sympathy is nothing more than a beautiful blonde robot, what’s the point?
  5. Thunder and the House of Magic
    “Thunder” doesn’t boast a distinctive look or a cast of famous voices. But its characters are engaging and its action sequences exhilarating.
  6. As Above, So Below
    As Above, So Below is inherently absurd, but it would be somewhat less so had it fully committed to just one of its ridiculous premises.
  7. Jealousy
    Jealousy is less cynical than it sounds. While certainly no love story, this dry-eyed tale feels achingly, maybe even exhilaratingly alive.
  8. A Letter to Momo
    A Letter to Momo is unquestionably lovely to look at, but viewers may not be able to shake the feeling that they’ve seen much of it before, and done better.
  9. May in the Summer
    It’s diverting to watch and has moments of brilliance, but even with all its refreshing female characters, May in the Summer doesn’t leave a lasting impression.
  10. Love Is Strange
    Attention is duly paid in this tender and touching film; the strangest thing about Love Is Strange is how completely un-strange it is, from its familiar family dynamics to its exquisite honesty and compassion.
  11. The Trip to Italy
    The wine Coogan and Brydon are opening this time may lack some of the novel fizz of the first one, but The Trip to Italy is like most vacations: a few bumps here and there, but over all too quickly.
  12. Kundo: Age of the Rampant
    In its second half, “Kundo” becomes robust and exhilarating. The filmmakers stage cast-of-dozens battle scenes and one-on-one showdowns with equal brio.
  13. Life of Crime
    Life of Crime feels like a rambling car ride through the countryside with friends. The scenery is great, and the passengers are diverting, but you keep wondering where the driver is headed.
    • 63 Metascore
    • 37 Critic Score
    The Congress
    The film is ambitious and heartfelt, with pressing concerns about the virtualization and fantasization of reality. But it’s a blunder, one interesting mostly for what it might have been.
  15. The November Man
    The November Man turns out to be the classic August movie: a triumph of competence over imagination and schlock over taste. Its highest value lies in reminding filmgoers that fall can’t come too soon.
  16. Rich Hill
    Rich Hill doesn’t just make you feel like you know these boys; it makes you care about them.
  17. The Kill Team
    The Kill Team is expertly edited, at one point overlaying interviews with the men who participated in the war crimes with B-roll of infantrymen milling about, weapons in hand. And it’s all set to a brilliantly spare and evocative soundtrack. It’s a beautiful way to lose faith in humanity.
  18. Life After Beth
    The promise of its premise is squandered all too soon in what becomes yet another tiresome exercise in the way-overworked zombie genre.
  19. When the Game Stands Tall
    Ironically, When the Game Stands Tall isn’t about keeping gridiron glory in perspective, but about blowing it out of proportion.
  20. Frank
    Beneath those puppet-headed antics, and true to its title, Frank is improbably, disarmingly honest.
  21. If I Stay
    Even at its most wrenchingly painful, the film readily delivers generous dollops of pleasure.
  22. Sin City: A Dame To Kill For
    Sin City: A Dame to Kill For is as visually imaginative as its predecessor.
  23. The Dog
    In addition to “pervert” — which Wojtowicz makes sound like a badge of honor — the film offers many other seemingly contradictory assessments of Wojtowicz, mainly from his own mouth: troll, Goldwater Republican, McCarthy peacenik, crazy man, crook, romantic. He was all of those things and more, as The Dog makes vividly obvious.
    • 68 Metascore
    • 63 Critic Score
    Land Ho!
    Like most stars of road movies, they’re an odd couple; unlike most, both the friction between them and their underlying loyalty feel real, not contrived to supply a movie’s dramatic arc.
  25. Siddharth
    The story itself never wavers when it comes to portraying the truth.
  26. Dinosaur 13
    In the taut, emotionally gripping documentary Dinosaur 13, filmmaker Todd Douglas Miller meticulously re-creates seven eventful, tense and finally heartbreaking years.
  27. Let's Be Cops
    Johnson and Wayans are both gifted comic performers but are given way too little to do in a film that wends its way from set piece to set piece, not with antic glee but desultory and-then-this-happens randomness.
  28. The Expendables 3
    The movie’s action sequences are both thrilling and idiotic.
  29. The Giver
    In its own way, the movie version — handsomely directed by Phillip Noyce and featuring an appealing, sure-footed cast of emerging and veteran actors — aptly reflects The Giver’s pride of place as the one that started it all, or at least the latest wave.
  30. Step Up: All In
    First-time director Trish Sie, a music-video veteran, is more interested in spectacle than character, as she demonstrates even when nobody’s dancing.
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