Washington Post's Scores

For 8,144 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Hours
Lowest review score: 0 Formula 51
Score distribution:
8144 movie reviews
  1. A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
  2. Rock of Ages gets too mired in plotty cul de sacs, manufactured setbacks and numbers that are all staged as show-stoppers. In the words of the Journey song that serves as a climactic singalong, it goes on and on and on and on.
  3. You can't criticize it for false advertising.
  4. Ted
    Eventually MacFarlane's formula -- consisting of filthy, ethnically offensive jokes, scatological humor, tacky pop culture references and random cameos -- begins to wear thin.
  5. Jack Reacher is a wildly ill-advised miscalculation, with Cruise's virtually unstoppable appeal butting uncomfortably against Reacher's alternately cocky and downright crude cynicism.
  6. A strange little movie. Unsure whether it wants to be a quirky, sad-eyed indie pixie or a brassy, raunchy broad, it veers uneasily between the two, never quite settling into a comfortable or recognizable groove.
  7. Anne Fletcher's lifeless comedy about an overbearing mother and her exasperated adult son, has no flawlessly delivered punch lines. It doesn't even have a hangnail.
  8. Conceived and directed by Madonna, W.E. is a gorgeous mess.
  9. Gerwig remains one of the most captivating new stars to hit the big screen, but she's still looking for a movie that deserves her.
  10. It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
  11. Charlie St. Cloud, like its star Zac Efron, is a gorgeous, unblemished thing. Both would be much improved with a tiny flaw or two.
  12. An uninspired studio product that demands as little from the audience as it did from its writers, directors and actors.
  13. Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.
  14. All of it makes for a rollicking, outsize tale of overweening ambition and palace intrigue, but J. Edgar instead plays it safe in a turgid, back-and-forth series of tableaux that look as if they were filmed from behind a scrim soaked in weak tea.
  15. The acting by Binoche and her two young co-stars is more nuanced than the film deserves. They bring a rich expressiveness and sense of complex inner life to their characters. It's the movie - and its placard-sized message - that is more two-dimensional.
  16. No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
  17. This third outing climaxes with a dark and melodramatic twist that, while adding a layer of nuance and back story that the previous two films never had, also feels wildly out of sync with its audience's expectations.
  18. The movie's self-importance is further inflated by the usual pseudo-Wagnerian score and occasional narration by John Hurt.
  19. You can't fault the filmmakers for reshaping a diary into a cohesive film. You can however, fault them for taking one of the great antiheroes in preteen literature and turning him into, well, an even wimpier kid.
  20. As it is, the audience must content itself with baby poop, naughty words and the female anatomy at its pneumatic extreme, while Bateman and Reynolds's search for transcendence continues.
  21. In attitude, if not aptitude, Robert Pattinson in Remember Me comes across like a latter-day James Dean.
  22. The movie’s action sequences are both thrilling and idiotic.
  23. The Bye Bye Man had a relatively modest budget, and it shows in the special effects, which tend to be more funny than scary.
  24. The air inside the pyramid isn’t the only thing that’s stale in this ludicrous yet mildly likable horror film.
  25. Director Leonard Nimoy does not use his ears for comedy -- nor his eyes, even. His three leads recite their lines as though they wanted to take their jumbo-sized salaries and run -- which, given this movie, maybe isn't such a dumb idea.
  26. It would be dishonest to claim it isn’t funny. The laughs may come in fits and starts, usually by way of sight gags and set pieces, but they do come. And then they go.
  27. Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
  28. 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.
  29. The story takes a couple of sharp turns, ultimately revealing that it isn’t a romantic comedy after all, but a shambling drama with a few mildly amusing pratfalls.
  30. The real problem, when all is said and done, isn’t the movie but the man with the microphone in its spotlight. Despite two comedy consultants who worked on the film, De Niro’s Jackie never comes across as especially funny on stage (or especially likable off).

Top Trailers