Washington Post's Scores

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:
11478 movie reviews
  1. What transpires is part heist flick, part Mission: Impossible-lite, with a dollop of Dan Brown (for the puzzles), the DNA of Nicolas Cage in National Treasure and mildly zingy buddy-banter dressed up with a bit of The Treasure of the Sierra Madre’s existential darkness.
  2. It’s diverting to watch and has moments of brilliance, but even with all its refreshing female characters, May in the Summer doesn’t leave a lasting impression.
  3. With strong performances, plenty of chemistry between the leads and pithy dialogue, the movie is fun until things get serious — which is to say, until things get unbelievable.
  4. "Out of the Shadows” isn’t going to win any awards, good or bad. Neither an embarrassment nor a triumph, it is nevertheless an improvement over the last film.
  5. [A] dreamy, entrancing and occasionally overstuffed documentary.
  6. The bar isn’t terribly high here, but Puss and company clear it comfortably, landing — but of course — on their feet.
  7. Wetlands has only a sketchy plot, based largely on Helen’s dreams, fantasies and childhood memories. It isn’t terribly clear where the movie — or its hedonistic heroine — is going, but getting there is one wild ride.
  8. Pay 2 Play makes no new revelations... The difference with this movie is that it actually means to inspire hope.
  9. It is, as the title suggests, sweet — but also slight.
  10. In its second half, “Kundo” becomes robust and exhilarating. The filmmakers stage cast-of-dozens battle scenes and one-on-one showdowns with equal brio.
  11. The characters in The Nice Guys often ask each other if they’re good or bad, a choice the movie doesn’t want to force the audience to make. Instead it settles for making good on the title, occupying the nice, mushy middle — perhaps unfocused and off-balance at times, but conveying a sense of buoyancy that’s as cheerfully contagious as it is freewheeling.
  12. Admittedly, Niccol succumbs to the temptation to make mini-billboards out of his dialogue, in which arguments follow neat “on the one hand” trajectories. But for the most part, Good Kill asks pertinent, enduring questions, not by way of polemic, but through the study of a character.
  13. Take Me to the River includes just enough history of the civil rights era to lend it gravitas. The color-blind recording practices of studios like Stax were an anomaly at the time and are well worth noting. But it’s the music people will want to hearken to.
  14. Like so many action movies, John Wick goes way beyond a reasonable carnage threshold. Brawls that are exciting in the beginning become dull as each sequence attempts to outdo the last. But John Wick has a more interesting story and better fights than most.
  15. The film is, at times, almost sinfully fun, assuming you have a taste for self-indulgently logic-free hedonism.
  16. As a meticulously composed piece of contemporary gothic, The Duke of Burgundy is exquisite to look at, but it succeeds best as a human drama, and a searching investigation of how to ask for what you want — and maybe even getting it in the end.
  17. The filmmakers invite the audience to get close enough to feel the pain without having to relive the depths of the real-life horror.
  18. The movie is an intellectual puzzle, the outcome of which is never in doubt. Its minor thrills come not from not knowing what will happen, but from watching the cagey choreography of two acrobatic minds.
  19. The Night Before is hardly a Christmas miracle, but it’s good for a laugh or two. And that’s not a bad way to get into the holiday spirit.
  20. I’ll Be Me is an elevating experience, inviting the audience to bear witness to Campbell’s courage, humor and spiritual strength. His story may make for a tough movie, but it’s an important and triumphant one, as well.
  21. A lovingly laid-back documentary about the charms, liquid and otherwise, of the traditional Irish watering hole.
  22. Most of the brights spots in Justice League involve Miller’s Flash — literally.
  23. The disconnect between Barry’s mature and adolescent selves, a running gag, can be amusing. But coming on the heels of the parade of similar content that we’ve been subjected to for the past several years in the world of superhero films and shows, the device cloys.
  24. Somewhere in here, there’s a pretty decent movie. The Finest Hours is probably the best of a bad bunch of recent releases. But it’s a shame that this terrific story’s engines keep flooding in the face of wave after wave of narrative inertia.
  25. The movie may not have quite the mind-bending wallop of “Inception,” but Predestination is about something deeper than fantasy.
  26. Danny Collins, like its central character, has a good heart, and sometimes that’s enough.
  27. For fans of dance, Ballet 422 will produce plenty of pleasures. But as with great ballet, great movies always benefit from a little drama.
  28. With its awkward reenactments and other stylistic clunkers, She’s Beautiful When She’s Angry doesn’t break much formal ground. But it serves as a moving reminder of how crucial citizen action is in fomenting social change.
  29. The movie marches so quickly past the many milestones of Welles’s career and life that it doesn’t have to time to linger — lovingly or otherwise — on any of them.
  30. It’s just a question of what route Angie and Marco will take to happiness. Yet their unsurprising journey is lively and entertaining, thanks in equal measure to the movie’s star and its director.

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