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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    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    The Fall Guy
    It’s an unexpectedly charming diversion — a studio film turned inside out, with the stars sent out to pasture and the worker bees front and center.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Conclave
    It’s the kind of movie that some will deem important enough to merit end-of-year awards and others will find portentous enough to give them the giggles — again, not unpleasurably.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    Nosferatu
    “Nosferatu” haunts as you watch it and vanishes when the lights come up, leaving a viewer shaken but not stirred. Still: Fangs for the memories.
  4. Civil War
    This is a lean, cruel film about the ethics of photographing violence, a predicament any one of us could be in if we have a smartphone in our hand during a crisis.
    • 64 Metascore
    • 75 Reviewed by
      Ty Burr
    Kinds of Kindness
    Lanthimos and his company still dare to find a bracing, disconsolate farce in our brief and helpless thrashing through life. For that, most people will never forgive them.
  6. The Shrouds
    The film also suffers from erratic pacing and half-baked reveals, but at its best, it throbs with raw, human, horrific honesty.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    Mickey 17
    It’s [Bong Joon Ho's] first film since “Parasite” became the first foreign language movie to win a best picture Oscar in 2020, and while it’s not his best work, “Mickey 17” is still a great deal of acrid fun. In the bargain, you get three great performances from two very good actors.
    • 91 Metascore
    • 75 Reviewed by
      Ty Burr
    The Brutalist
    Maybe it’s too early in his career for Corbet to reach for a ring this big and this brassy. Yet “The Brutalist” earns its weight in the telling, if not in cumulative impact or meaning.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    A Different Man
    An existential black comedy delivered with flair and a steady gaze — and two remarkable performances at its center — it mucks about in themes of identity and exploitation, perception and personality, fate and foolishness.
    • 76 Metascore
    • 75 Critic Score
    The Fire Inside
    Ryan Destiny’s performance as Shields is persuasive and commanding.
    • 63 Metascore
    • 75 Reviewed by
      Ty Burr
    Maria
    Maria is still worth your attention for the spectacle of a statuesque actress playing a woman who willed herself into statuary.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    The Outrun
    The Outrun is a recovery drama lifted above the genre’s necessary clichés by the star’s prickly, incandescent presence. It’s also boosted by the film’s setting in the stark Orkney Isles in the north of Scotland and by Fingscheidt’s poetic approach to time, place and chronology.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Substance
    With wit, style and ruthlessness, Fargeat has made a movie that’s an example of the soulless pop-culture object she’s spoofing.
  14. Seeking Mavis Beacon
    When the pair’s natural curiosity and humor seep into the film, their scrappy enthusiasm is infectious.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    Dìdi
    The trick is in the details — in letting the personal bring specificity to the universal while letting the universal illuminate the personal. It’s a balancing act, and writer/director/former teen disaster Sean Wang gets it mostly right in “Dìdi,” his fictionalized memory play of being a floundering Taiwanese American skate kid in 2008 Fremont, Calif.
  16. Will & Harper
    At times a case study in How to Be an Ally, the film is accessible by intention. Yet it remains raw, vulnerable and joyful, even when things get messy, as it charts a road map to empathy and acceptance — the real destination that awaits at the end of their cross-country odyssey.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    The Room Next Door
    In any event, from whatever impulse, [Almodóvar] has given us a movie that is both an uneasy tribute to exiting with grace and a rationale for sticking around for one more movie, one more meal — one more day with the door open.
  18. Cuckoo
    An American teen encounters peculiar horrors at a remote German resort in Tilman Singer’s “Cuckoo,” a kooky sci-fi genre hybrid that crackles with offbeat turns and creature scares as it unfolds against a backdrop of deceptively serene forests and cheeky Euro-kitsch.
  19. Red One
    Red One is a sour sugarplum of a Christmas treat, a cheerfully cynical action comedy for kids — especially the ones who asked Santa Claus for ninja stars and a Nerf gun.
    • 75 Metascore
    • 75 Reviewed by
      Ty Burr
    My Dead Friend Zoe
    My Dead Friend Zoe is straightforward as filmmaking and it’s fairly obvious as therapy, but it comes from a place of deep respect and deeper love, and everyone here honors that.
  21. The Phoenician Scheme
    At its fleeting best — in its meditation on the transactional and the transcendent — this one feels like it’s reaching for something more than surface charm.
  22. Karate Kid: Legends
    Karate Kid: Legends combines the best of all those sequels plus a 2010 remake — a simple underdog tale, appealing casts and crisply filmed action — to contribute a new and worthy chapter to the canon. It’s one whose ambitions meet, and occasionally exceed, our expectations.
  23. The Girl with the Needle
    An Oscar nominee for best international feature, Denmark’s harrowing, slow-boil thriller “The Girl With the Needle” has been described by some as a horror film. And from the hallucinatory opening montage of distorted, leering faces, this black-and-white drama promises to be the stuff of nightmares.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    Emilia Pérez
    Emilia Pérez is a big, bulging bag of eye candy, in other words, and like a lot of candy, it can give you a sugar high without much genuine sustenance and perhaps an attendant headache.
    • 65 Metascore
    • 75 Reviewed by
      Ty Burr
    Drop
    Drop is the sort of unpretentious suspense exercise that takes a single absurd premise and works every variation it can within a streamlined 100 minutes. Your brain is not required, but a certain amount of suspension of disbelief is the price of admission.
    • 76 Metascore
    • 75 Critic Score
    I Am: Celine Dion
    The film documents how Dion has remained a pop culture fixture in the past decade, from appearances on late night shows to a music video with Deadpool.
    • 84 Metascore
    • 75 Reviewed by
      Ty Burr
    Universal Language
    It is as far from the commercial mainstream as narrative filmmaking gets, but for connoisseurs of the poetic bizarre, it has its very real enchantments.
    • 83 Metascore
    • 75 Reviewed by
      Ty Burr
    Souleymane's Story
    Souleymane’s Story presents its hero’s life as an open-air prison. Scrupulously researched by Lojkine and co-writer Delphine Agut, it’s brutally frank about the predatory practices of some of Souleymane’s fellow West Africans.
    • 60 Metascore
    • 75 Critic Score
    Wolfs
    So Clooney and Pitt’s first outing as scene partners since “Burn After Reading” 16 years ago turns out to be a pleasing, if largely predictable, lupine lark.
  30. Backspot
    The film is heavy on the dread, light on the narrative. It’s all about the tension in the gym where the adults are just as melodramatic as the girls.
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