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. The Face of Love
    Bening and Harris are great actors, and they fill their roles as completely as they can, given the limitations of the soggy and implausible script by Matthew McDuffie and director Arie Posin.
  2. Honey
    Trinca delivers a marvelously unfussy performance, rendering her complex character gradually, along with the effects of the opposing forces that tear at her.
  3. Le Week-End
    In the capable hands of these fine filmmakers and actors, even its most bitter observations about life and aging are nearly always reliably balanced by moments of warmth, understanding and out-and-out screwball humor.
  4. Sabotage
    Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.
  5. Noah
    Viewers may not agree about what they’ve seen when they come out of Noah. But there’s no doubt that Aronofsky has made an ambitious, serious, even visionary motion picture, whose super-sized popcorn-movie vernacular may occasionally submerge the story’s more reflective implications, but never drowns them entirely.
  6. Afternoon of a Faun: Tanaquil Le Clercq
    What’s most fascinating about Afternoon of a Faun — and what the movie could spend more time delving into — is ballet’s grueling and fleeting nature.
  7. Shirin in Love
    Although Boniadi makes Shirin nearly as likable as she’s supposed to be, writer-director Ramin Niami’s movie is crudely contrived and sloppily edited.
  8. Dark House
    Salva certainly gets points for creative repurposing. Much of what transpires in Dark House has been seen before, just not all in the same movie.
  9. Particle Fever
    It plays out with all the suspense of a thriller. Assisted by acclaimed editor Walter Murch, Levinson wisely shapes the story not around the hardware, which was plagued by malfunctions and other delays, but around the people tasked with making the LHC run.
  10. Enemy
    There’s no doubt that Villeneuve can make a movie; he’s developed a strong cinematic voice. It’s tantalizing to imagine what he could do with a really fine story.
  11. Nymphomaniac: Volume I
    It’s impossible to dismiss von Trier as merely a hype-monger. He’s too damnably good a filmmaker for that. Watching Nymphomaniac is to be reminded of his superb skills in creating vivid worlds and characters on screen.
  12. Bad Words
    Although his character might be a one-trick pony, Bateman’s directing proves he’s got skills to spare.
  13. Muppets Most Wanted
    The wittiest jokes and cameo appearances are designed to soar far over the heads of young filmgoers and into the atavistic pop consciousness of their adult companions.
  14. Divergent
    Director Neil Burger (“Limitless”) has crafted a popcorn flick that’s leaner, more propulsive and more satisfying than the bestseller that inspired it.
  15. Tyler Perry's The Single Moms Club
    As directed by Perry, The Single Moms Club goes for a mix of escapism and reality-based drama and winds up with a movie that can only be enjoyed via the running, snarky commentary that will inevitably scroll through most audience members’ heads as they watch.
  16. Child's Pose
    A compelling, complex, confounding film.
  17. Elaine Stritch: Shoot Me
    Elaine Stritch’s strength, along with the film’s, comes from her honesty. She is herself, even when — maybe especially when — she knows she’s being watched.
  18. Generation War
    The films are highly entertaining and highly disturbing, in the latter case for both the right and the wrong reasons. While admirably delineating moral decay, which eats away at one character like a virus, the movies never really get at the seed of evil.
  19. Veronica Mars
    The movie lacks some of the verve and chemistry that made the series a must-see. I guess that makes the movie more of a good-to-see.
  20. Need For Speed
    Need for Speed is a piece of auto-collision pornography that weighs down its car-flip-and-massive-fireball money shots with a preposterous plot involving vehicular manslaughter vengeance.
  21. The Grand Budapest Hotel
    A compulsively arranged sacher torte of a movie, an elegant mousetrap of stories-within-stories that invokes history with a temperament ranging from winsome to deeply mournful.
  22. Bethlehem
    Adler nicely harnesses the mounting volatility of this situation, which builds to an intense if tragic conclusion.
  23. Kids for Cash
    Kids for Cash proves that the abuse was both more nuanced and more tragic than the public understood.
  24. The Prime Ministers: The Pioneers
    The Prime Ministers: The Pioneers is hampered by a static structure that relies too heavily on a single voice.
  25. Stranger by the Lake
    Writer-director Alain Guiraudie takes an all-natural approach to his material, and not just because most of the men spend the movie in the buff. He takes long, lingering shots, never rushes a scene and uses no score, just organic sounds.
  26. The Bag Man
    The self-conscious affectation of the film would be funny, were it not so smug.
  27. Mr. Peabody & Sherman
    By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy’s Thanksgiving Day Parade floats. They’re just as lifeless and inexpressive, too.
  28. 300: Rise of an Empire
    When the film isn’t sloppily directed, it’s a series of lazy filmmaking tics, including fetishistic slow-motion shots of blood, water and sweat, as well as sundry dismemberments, impalings and decapitations.
  29. Stalingrad
    As quickly as the technical elements pull the audience in, the plot pushes us away.
  30. Visitors
    For those willing to join Reggio in his extended meditation, Visitors offers a sublime, even spiritual experience, as well as a bracing reminder of cinema’s power to create a transformative occasion.
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