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. Blade Runner 2049
    Blade Runner 2049, the superb new sequel by Denis Villeneuve (“Arrival”), doesn’t just honor that legacy, but, arguably, surpasses it, with a smart, grimly lyrical script (by Fancher and Michael Green of the top-notch “Logan”); bleakly beautiful cinematography (by Roger Deakins); and an even deeper dive into questions of the soul.
  2. Julieta
    Whether by dint of his source material or his own maturity, the filmmaker has invested the surface sheen with tenderness and emotional depth. It’s no surprise that Julieta is marvelous to look at, but it possesses just as much substance as style.
  3. Graduation
    The power of the film is cumulative, as the filmmaker spins a mesmerizing morality tale from the dross of daily life. In his skillful hands, the ordinary turns out to be anything but.
  4. Loving
    Intimate, moving and superbly underplayed, Loving is every bit as soft-spoken and subtly implacable as its protagonists. It lives up to its title as a noun and a verb, with elegant, undeniable simplicity.
  5. Paterson
    What becomes clear in the course of the movie is that Jarmusch has constructed his own version of a poem, with recurring images and themes that allow him to delve into the nature of commitment, artistic ambition and how inner life is shaped by the tidal pull of place and history.
  6. Personal Shopper
    You don’t need to be familiar with Assayas’s previous work to enjoy Personal Shopper. It works in two realms: as an engrossing ghost story and a drama that addresses profound matters of life and death.
    • 59 Metascore
    • 100 Critic Score
    Anthropoid
    Aided by co-screenwriter Anthony Frewin, Ellis takes his time in this slow-burning thriller, which often feels more like a character study.
  8. Real Life
    Albert Brooks may be the Woody Allen of the 1980s. His extraordinary first feature, Real Life, demonstrates a potential genius for movie comedy and is animated by a peculiarly fertile and subtle imagination.
  9. Land of Mine
    Both grimly naturalistic and infused with classical values at their most thoughtfully composed, Land of Mine is epic but deeply intimate; elegant but tough.
  10. Splash
    It is a triumph for director Ron Howard, underwater photographer Jordan Klein, the writers and even the guy who made Hannah's latex tail (Robert Short). And it's surely the stairway to superstardom for costar John Candy and the lovely leading nyad. Splash, a departure for struggling Disney Studio, is as irresistible as the siren's song. [09 Mar 1984, p.23]
    • Washington Post
  11. Moonlight
    Directed with superb control and insight by Jenkins, Moonlight achieves the near-impossible in film, which is to ground its story and characters in a place and time of granular specificity and simultaneously make them immediately relatable and universal.
  12. Hidden Figures
    This bracing movie...gets off to a spirited start and rarely lets up, sharing with viewers a little-known chapter of history as inspiring as it is intriguing.
  13. Cameraperson
    In a mesmerizing series of images, encounters and delicate juxtapositions, Cameraperson testifies to a world in which it would be clear to see that we’re all connected, if only we took the time to look at one another with reverence and simply listen.
  14. Three Colors: Blue
    For Kieslowski, subtlety is a religion. He hints or implies -- anything to keep from laying his cards on the table. With "Blue," you never feel he's shown his whole hand; not even after the game is over.
  15. Three Colors: White
    Kryzstof Kieslowski's White...is a continuing testament to the Polish director's poetic mastery. Like all of Kieslowski's works, White articulates a whole language of sensations, images, ironies and mystery -- often with a minimum of dialogue. But it is no rarefied, abstract exercise. The movie...aches with human dimension.
  16. Three Colors: Red
    In this final installment of a glorious trilogy (which includes the films “Blue” and “White”) he has saved his greatest for last.
  17. The Double Life of Veronique
    The Double Life of Veronique is a mesmerizing poetic work composed in an eerie minor key. Its effect on the viewer is subtle but very real. The film takes us completely into its world, and in doing so, it leaves us with the impression that our own world, once we return to it, is far richer and portentous than we had imagined.
  18. Fences
    Ringing with both ancient wisdom and searing relevance, Fences feels as if it’s been crafted for the ages, and for this very minute.
  19. 20th Century Women
    As a celebration of personal and social history, 20th Century Women takes the audience back. But it also lifts us up on a wave of openhearted emotion and keen intelligence. It bursts with the sad, messy, ungovernable beauty of life.
  20. Darkest Hour
    Handsomely filmed, intelligently written, accented with just a dash of outright hokum, Darkest Hour ends a year already laden with terrific films about the same subject — including the winsome comedy-drama “Their Finest” and Christopher Nolan’s boldly visual interpretive history “Dunkirk” — and ties it up with a big, crowd-pleasing bow.
  21. Jackie
    Superbly shot and accompanied by an alternately angular and lyrical score by Mica Levi, Jackie would have been an exceptionally smart, intriguing movie as an astutely conceived, well-crafted meditation on political mythmaking. In Larraín and Portman’s hands, it becomes something deeper and more emotionally potent.
    • 76 Metascore
    • 100 Critic Score
    Lady Macbeth
    Oldroyd’s brilliance (and Pugh’s) is to probe this age-old archetype — the Gothic antiheroine, the adulteress — and find pathos and cruelty. It’s also to uncover the complex web of hierarchies — of race and class, as well as gender — that ensnare and empower her.
  23. I Am Not Your Negro
    A brilliant piece of filmic writing, one that bursts with fierce urgency, not just for the long-unresolved history it seeks to confront, but also in its attempt to understand what is happening here, right now.
  24. Downsizing
    Weird and wonderful, zigging where it should zag and zagging where it should zig, this wildly imaginative flight of fancy strikes an admirably poised balance between whimsy, screwball comedy, social satire and generous meditation on the foibles and highest aspirations of human nature.
  25. My Life as a Zucchini
    It may not sound like it, but calling this barely 70-minute Swiss stop-motion film “heavy” — as in substantial and almost swollen with feeling — is a true compliment.
  26. Detroit
    Detroit is an audacious, nervy work of art, but it also commemorates history, memorializes the dead and invites reflection on the part of the living. In scale, scope and the space it offers for a long-awaited moral reckoning, it’s nothing less than monumental.
  27. The Big Sick
    It’s a movie that not only puts human imperfections and incongruities on display, but also revels in them.
  28. Call Me by Your Name
    An almost sinfully enjoyable movie that both observes and obeys the languid rhythms of a torrid Italian summer.
  29. Mudbound
    This is a big movie, about big emotions and ideas, which Rees evokes and explores through an extraordinarily rich tapestry of atmosphere, physical setting, visual detail and sensitive, subtle performances.
  30. City of Ghosts
    City of Ghosts provides a grim reminder of what journalism should look like, and why its stakes are literally life and death.
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