Washington Post's Scores

For 7,653 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 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 E.T. The Extra-Terrestrial
Lowest review score: 0 Alone in the Dark
Score distribution:
7653 movie reviews
  1. It seems that Andy and Lana Wachowski have never lost that childlike ability to dream. But they also haven’t mastered the grown-up power to rein it in. The story they tell in Jupiter Ascending could probably occupy an entire television season. There’s way too much here for one movie to hold.
  2. Despite a solid central performance by film veteran Lynn Cohen and a Detroit setting that will please expats and current residents of the Motor City, there is little here to lift this film beyond its regional appeal.
  3. Biography, at its most useful, disabuses us from myth, but Churchill has no such ambitions. As both history and entertainment, it’s a drag.
  4. War Dogs stays at arm’s length from the subjects, afraid to implicate us in the pleasures and prosperity of their rise, thus making their fall seem distant, puny and unaffecting.
  5. Writer-director Rupert Goold, here making his feature debut, fails to capture the chemistry and tonal complexity necessary to make this grim, often grisly tale anything more than a tragically lurid anecdote.
  6. Clocks in at close to two hours. It feels much longer. By comparison, Malick’s World War II epic “The Thin Red Line” tipped the scales at a whopping 170 minutes. But at least that 1998 film had people shooting at each other. There’s no such excitement here.
  7. 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.
  8. Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.
  9. Mortdecai succeeds more as a talky farce than an action-packed adventure. But it would be even better if Mortdecai weren’t about Mortdecai at all.
  10. 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.
  11. There are goofy, primal pleasures to be had in the first two-thirds of the film. But Beyond the Reach exceeds even its humble grasp in the final act, collapsing in a clatter of blockheaded manhunter-movie cliches. Crazy is one thing, but dumb is unforgivable.
  12. The Signal has visual style to burn. And it takes good advantage of the current state of paranoia arising from our surveillance culture and the pervasive mistrust in government. On paper, this sounds like a good formula. If handled well, it could really pay off.
  13. Pan
    Pan doesn’t deliver on its own promise. The movie doesn’t so much enhance our understanding of the flying boy as it demonstrates how little thought went into crafting his back story.
  14. Song to Song is a painful movie to watch, not only because it’s so dithery and overlong, but because it reveals Malick to be a filmmaker far more interested in surfaces than his vaunted intellectual depth would suggest.
  15. In the world of Freedom, slaves and the people who help them are Christians, and the bad guys don’t believe in God.
  16. This sharp left turn takes the films’ mythology in strange and not entirely satisfying new directions, including a crazy time-travel element.
  17. Overplotted, undercooked and extremely well-dressed, The Dressmaker has style to burn, but it has a mean streak as wide as the Outback.
  18. There’s nothing sly about writer-director Le-Van Kiet’s scenario.
  19. There’s a story here, all right, but it’s a heartless and bitter one.
  20. The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
  21. People don’t go to Sparks movies for subtlety; they go to warm their hearts by bearing witness to true love. Of course, that requires a story that rings true. In The Longest Ride, authenticity is in short supply.
  22. 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.
  23. Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
  24. A lugubrious cloud of mediocrity sets in early in Freeheld, a dreary dramatization of a pivotal gay rights case that paved the way for marriage equality.
  25. As is true with so much of Haggis’s work, Third Person suffers from an airless, too-neat lack of connection with organic life.
  26. Snyder tries to up the spectacle ante with ever more explosions, crashes, thermal blasts, topological realignments, gunfire and mano-a-mano fistfights. But the result is a punishing sense of diminishing returns and a genre that has finally reached the point of mayhem-induced exhaustion.
  27. Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
  28. Both assaultive and tiresome, A Good Day to Die Hard barely registers on the action movie Richter scale. It goes bang, it goes boom, and then it blessedly goes away.
  29. Music redeems an at-risk teen in Urban Hymn, a social-problem melodrama whose other major characters don’t fare so well.
  30. Little Boy is a as phony as a game of three-card monte.

Top Trailers