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. Parkland
    A film of modest ambition and workmanlike pacing, it breaks little new ground, either in form or content. Then again, that may be the point.
  2. The Trials of Muhammad Ali
    For those seeking further insight into this sliver of Ali’s remarkable career, “Trials” is as comprehensive as it gets.
    • 50 Metascore
    • 63 Critic Score
    A.C.O.D.
    As a look at the state of modern monogamy — or at least our enduring if misguided faith in it — it’s refreshingly acerbic.
    • 39 Metascore
    • 63 Critic Score
    Zaytoun
    Riklis isn’t heavy-handed here, and even when the film’s plot grows a little unlikely, its tone is never sappy.
  5. Ip Man: The Final Fight
    As a character study, Ip Man: The Final Fight would be more convincing if it didn’t look so distractingly like a Hollywood musical.
  6. Instructions Not Included
    The film’s counterintuitive success is largely due to Derbez, who demonstrates why he is beloved, both south and north of the border.
  7. Things Never Said
    When it comes to writing the poetry that Kalindra recites, Murray knows how to do more with less; he needs to apply that lesson to his filmmaking, too.
  8. Follow the Leader
    The movie is about so much more than politics. Growing up, growing disillusioned, gaining wisdom — these are the themes of Levitt’s slight but eminently watchable film.
  9. The Summit
    Because The Summit jumps around in time and because the events on the mountain happened over two days and at locations often far apart, the already garbled chronology of deaths is made even more confusing.
  10. Newlyweeds
    The wispy premise of Newlyweeds, written and directed by Shaka King, is kept afloat by its attractive, youthfully vital cast (along with some well-timed comic relief by way of some familiar faces).
  11. The Railway Man
    The film is less deeply affecting than merely admirable. It’s a good, slick and well-intentioned film that wants so hard to be an important one that the slight feeling of letdown it leaves is magnified.
  12. Bad Words
    Although his character might be a one-trick pony, Bateman’s directing proves he’s got skills to spare.
  13. Begin Again
    Begin Again may not always swing, but it makes up for that in sincerity and a welcome willingness to ambush expectations.
  14. The Double
    The Double retains all of Dostoevsky’s central themes. Madness, alienation and the loss of identity swirl around the film’s edges like film-noir fog. At the same time, the filmmakers inject a much-needed dose of dark humor into the tale.
  15. What If
    If you can suspend your incredulity for a moment, What If has its bright moments. And that’s thanks in large part to its leads, who manage to do what Radcliffe has always done well: conjure up a little magic.
  16. Fading Gigolo
    There’s a far more interesting movie taking place alongside this more than slightly silly one.
  17. Palo Alto
    Palo Alto starts strong but runs out of momentum. Strangely, as aimless vignettes give way to bigger life events.
  18. The Armstrong Lie
    The Armstrong Lie is thorough, fair and thoughtful. It may not, however, close the book on the scandal.
  19. The Unknown Known
    Seemingly unable to engage in self-reflection, let alone self-criticism, Rumsfeld is given virtually full rein to control the narrative by Morris, who is far more interested in letting the audience dwell inside his subject’s strangely attenuated moral imagination, rather than challenge it.
    • 49 Metascore
    • 63 Critic Score
    Big Sur
    A beautiful and sometimes affecting film that (appropriately, some would say) has as much difficulty connecting with the world before it as its protagonist does.
  21. Supermensch: The Legend of Shep Gordon
    The movie’s focus on good vibes and high times leaves little room to contemplate the more human story. Regardless, the movie is good-natured and an enjoyable watch. If Myers really just wanted to show his appreciation, he went above and beyond.
  22. Maggie
    The film suffers a bit for its slowness. But once you get used to the fact that this is not “World War Z,” it has its small pleasures, which are both cerebral and emotional.
  23. Spinning Plates
    The movie doesn’t always feel cohesive, but the stories are unexpectedly touching.
  24. The Last Sentence
    It’s a thoughtful and workmanlike portrait, but a less than profoundly moving one.
  25. Bettie Page Reveals All
    Despite Page’s excellent voiceover, “Bettie Page” suffers from embarrassingly choppy editing and a parade of stock film clips used to illustrate episodes recounted by its subject.
  26. Hours
    Compared to the “Fast and Furious” films, Hours is a chamber piece, but Walker wrings real pathos out of his instrument.
  27. Jersey Boys
    Fans of the play will be pleased. And for those that love the Four Seasons’ music but haven’t made it to the play, you can put your fear of missing out to rest. This is a much more affordable way to very nearly re-create the experience.
  28. Spy
    As cinema, Spy is content to cater to its own conventions, hit the required marks and earn a few laughs along the way. As a cultural bellwether, it does something bigger and more important, without ever italicizing that fact.
  29. The New Rijksmuseum
    Artful yet agonizingly unhurried at times.
  30. Ai Weiwei: The Fake Case
    The absence of legal details makes the movie something of a cheat. It offers few insights about the case from the official side, let alone about the machinations of Ai’s legal team.
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