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. Yves Saint Laurent
    The film is artfully shot with eye candy galore: sumptuous dresses, beautiful people and scenes from Pierre and Yves’s time in Morocco. But for all its visual stimulation, the story does little to awaken emotions.
  2. The Purge: Anarchy
    The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
  3. Wish I Was Here
    Wish I Was Here touches on some timely themes and does so with an artistic vulnerability.
  4. Boyhood
    As a film that dares to honor small moments and the life they add up to, Boyhood isn’t just a masterpiece. It’s a miracle.
  5. The Perfect Wave
    The movie’s transition from surfer flick to a story about faith is swift and not particularly smooth.
  6. Code Black
    Code Black is a powerful and quietly damning film. While training his lens narrowly on the heroic workers in a single emergency department, McGarry has made a broad indictment of a system that is badly in need of surgery.
  7. A Summer's Tale
    Like most of Rohmer’s movies, A Summer’s Tale is comic, humane and much more complicated than it seems at first. The fresh-faced actors, realistic dialogue and naturalistic performances suggest a casual approach, but as the story progresses, the filmmaker’s control is increasingly evident.
  8. The Last Sentence
    It’s a thoughtful and workmanlike portrait, but a less than profoundly moving one.
  9. A Coffee In Berlin
    It manages to make an entertaining story out of nothing in particular. And just when you get comfortable passively observing a passive observer, the minutest of twists becomes its own call to action. It urges the audience to consider this small story in a broader context.
  10. Venus in Fur
    This may not be Roman Polanski’s finest movie; it may not even be his best adaptation of a play. But it’s masterfully done in a way that does justice to its source material.
  11. Dawn of the Planet of the Apes
    Dawn of the Planet of the Apes works both as allegory and action-adventure film. The internecine conflict between apes mirrors the troubled history of our own race.
  12. Ai Weiwei: The Fake Case
    The absence of legal details makes the movie something of a cheat. It offers few insights about the case from the official side, let alone about the machinations of Ai’s legal team.
  13. La Bare
    In a jovial, if superficial way, he offers some perspective on the men behind the banana hammocks.
  14. Life Itself
    You may not have agreed with Ebert’s reviews — you may not have thought he was such a nice guy. But if you aren’t moved by Life Itself, you ought to have your heart examined.
  15. Snowpiercer
    Subtlety may not be the film’s strong suit, but it creates a richly imagined world, as glitteringly arresting as it is savagely merciless.
  16. Begin Again
    Begin Again may not always swing, but it makes up for that in sincerity and a welcome willingness to ambush expectations.
  17. America: Imagine a World Without Her
    America is less successful as a debate, since it isn’t one. D’Souza controls the conversation, and thus goes unchallenged when he tries to make real-world points with make-believe scenarios.
  18. Deliver Us From Evil
    The question at the heart of Deliver Us From Evil, a garden-variety serial-killer thriller tarted up as an exorcism drama, is not whether good will triumph over evil. Rather, it’s this: What in God’s name possesses good actors to make dreck like this?
  19. Earth to Echo
    Yes, it’s plainly derivative, but Dave Green’s debut feature is heartfelt and fun, particularly for children craving live-action films beyond big-budget superhero reboots and animated sequels.
  20. Tammy
    Tammy is a bummer, not least because McCarthy’s fans know she’s better than this.
  21. In Bloom
    There is an obliqueness to In Bloom. Writer Nana Ekvtimishvili, who directed the movie with Simon Gross, doesn’t spell things out, and the complete story never comes into focus... But when the truth is so troubling, sometimes part of the story is more than enough.
  22. The Internet's Own Boy: The Story of Aaron Swartz
    Knappenberger’s documentary is smart and focused, homing in on a recurring theme of independence.
  23. Korengal
    “Restrepo” felt like the story of how boys become men. Korengal feels like the story of how strangers become family.
  24. Third Person
    As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
  25. Violette
    Violette mostly avoids the pitfalls associated with movies about writers by limiting the scenes of Violette scribbling furiously in a notebook.
  26. Transformers: Age Of Extinction
    The problem is quantity. There are so many action sequences related to so many story lines that midway through an epic fight, you might find yourself wondering what exactly started this particular battle and what the objective is other than destruction for the sake of it.
  27. They Came Together
    Larky, witty and sometimes even wise, this spoof on every rom-com ever made is less a fully realized film than an extended skit, a series of set pieces that poke gentle and sometimes transgressively crude fun at the tropes of girl-meets-boy that have enchanted and addled audiences for generations.
  28. Citizen Koch
    If you have a shred of idealism left, it’s hard to watch Citizen Koch without a mounting sense of despair and outrage over the influence that money has come to wield over modern elections.
  29. Ivory Tower
    Ivory Tower covers a lot of ground, and sometimes the focus feels diffuse.
  30. The Rover
    What makes The Rover more watchable than the average self-conscious genre exercise is Pearce, who exudes such weary authority and palpable vulnerability that he’s sympathetic even in the film’s most brutalizing moments.
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