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 5.3 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. A Wrinkle in Time
    Even without every flaw completely ironed out, it offers values worth celebrating across the time-space continuum.
  2. Before I Fall
    This is a movie squarely directed at adolescents in all their untamed desire, outsize emotion and near-bottomless self-obsession. The filmmakers have crafted a canny delivery system for their life lessons, by way of a movie that balances escapism, candor and ethics with admirable aplomb.
  3. Two Trains Runnin'
    The movie’s thesis is that the 1960s’ political clashes and cultural revelations were essentially linked, and equally liberating.
  4. The Wall
    The Wall is a fairly hopeless film. In a sense, the fragile structure of the title acts as a double metaphor: for a barrier between enemies that keeps them from killing each other, as well as one that must come down if true understanding is ever to occur.
  5. Spider-Man: Far from Home
    Holland, Zendaya and Jacob Batalon (as Peter’s best friend, Ned) convincingly convey adolescent awkwardness, despite the fact that they’re all in their 20s.
  6. The Sense of an Ending
    The inherent superiority of the written word notwithstanding, Batra has done a credible and even commendable job of translating Barnes’s intricate prose to the screen, opening up some of its corners, burrowing into its time shifts and, most gratifyingly, elaborating on a few otherwise marginal characters.
  7. The Party
    This is a film that encapsulates the anxiety of the present moment, complicated by friendships that lean, at times, toward outright hostility.
  8. The Lovers
    Flustered, flirty and filled to the brim with compassion, The Lovers is charming, even when it’s proving how hollow charm can be.
  9. Wonder
    Wonder does occasionally suffer from kid-movie pitfalls, straining to be cute or mining humor from ridiculously precocious little ones. But mostly it succeeds in telling not one complicated story, but many, and giving the experience of being a confused or lonely or scared youngster the space it deserves.
  10. The Beguiled
    On its own terms, The Beguiled is a finely crafted, gemlike exercise in surface tension and subterranean stirrings. Seen through the prism of history and culture, it’s difficult not to feel that some essential truth has been lost in translation.
  11. Coco
    Not only is it a wholly original story, but it also honors a culture that’s so often overlooked by the movie industry. That alone might have made it a hit, but Coco has so much more to offer.
  12. A Ghost Story
    By the standards of the traditional ghost story, A Ghost Story isn’t much of one. By the standards of the moody art-house meditation on love, loss, memory, forgetting, attachment, letting go and the nature of eternity, it’s pretty darn great.
  13. Landline
    Landline offers viewers a rueful glimpse of a vanished time and place. Along the way, it’s often unexpectedly and guffawingly funny.
  14. A Hidden Life
    A Hidden Life is indisputably the finest work Malick has produced in eight years, as an examination of faith, conviction and sacrifice, but also as proof of concept for his own idiosyncratic style. It marks an exhilarating return to form but also, more crucially, content.
  15. Crown Heights
    As compelling as Warner’s story is, Crown Heights never quite takes hold cinematically. It’s a procedural whose central protagonist remains necessarily passive and something of a cipher, despite the wellsprings of emotion that Stanfield manages to tap simply by gazing balefully out a cell window.
  16. Patti Cake$
    Patti Cake$ winds up being a celebration of art, enterprise and self-invention that’s as tough as it is touching. At the risk of mixing metaphors, not to mention musical genres, it rocks.
    • 73 Metascore
    • 75 Critic Score
    Pop Aye
    Filmmaker Kirsten Tan riffs on the tropes of both the buddy film and the road trip movie in her absurd yet subtly observed feature debut Pop Aye.
  18. Thoroughbreds
    Yelchin’s performance — grizzled, neurotic — is sadly on-the-nose, making us feel as if we’re watching the last act of a troubled young man.
  19. Trophy
    To its credit, Trophy neither shames its subjects nor offers an easy solution. Rather, it takes a reasoned and thought-provoking view — from many angles — of a problem for which there is, as Trophy argues, no quick or simple fix.
  20. Marshall
    Director Reginald Hudlin handles the story with just enough finesse to make its details more thrilling than uneasy.
  21. In This Corner of the World
    “Corner” is a deeply sympathetic tale, using the possibilities of animation not just to pique curiosity, but to devastate.
  22. I Am Jane Doe
    The documentary I Am Jane Doe is the kind of film that lifts up a rock that’s been sitting in plain sight year after year, with only a heroic few bothering to see the slithering reality underneath.
  23. A Fantastic Woman
    The moments when A Fantastic Woman takes off come in bursts of magical realism, such as when Marina suddenly finds herself heading off impossible head winds, or leading a sparkly dance number.
    • 77 Metascore
    • 75 Critic Score
    Alive and Kicking
    Glatzer captures the visceral charge of moving wildly in tandem with another person, often in improvised bouts that forge strong bonds between partners, if only for a few minutes.
    • 77 Metascore
    • 75 Critic Score
    Have a Nice Day
    Its juiciest bits, which include Uncle Liu musing on meat buns as a childhood friend of his is beaten to a pulp for sleeping with the mobster’s wife, are reminiscent of early Quentin Tarantino. But here, scenes unspool at a far more meditative clip.
  26. The B-Side: Elsa Dorfman's Portrait Photography
    The most interesting parts of this conversation come when Dorf­man talks about the art of portraiture.
  27. School Life
    In tone, School Life feels like a recruiting film for prospective students. It isn’t exactly profound, except perhaps in the way it makes a case for the theory that happiness comes first, and then learning.
  28. Dunston Checks In
    A cheerful romp through a fussy New York hotel.
  29. Outbreak
    Outbreak is an absolute hoot thanks primarily to director Wolfgang Petersen's rabid pacing and the great care he brings to setting up the story and its probability.
  30. The Transfiguration
    O’Shea follows his twisted premise to its inexorable conclusion, so his film is ultimately more unnerving than sad.
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