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. Knock Down the House
    If Knock Down the House was supposed to be about the 2018 surge of female candidates, it misses the mark by focusing too much on one of them.
  2. The Lodge
    The Lodge isn’t a perfect treat. But for those who like their movies dark and disturbing, it does the trick.
  3. Red Joan
    Yet as good as she is, the actress is little more than the framing device for this polished and morally provocative — yet hardly pulse-pounding — tale, loosely based on the life of English spy Melita Norwood.
  4. Yesterday
    Eventually — perhaps inevitably — Yesterday overplays its hand, with Curtis seemingly at a loss for how to resolve a story that, after its initial premise has been mined for maximum humor and poignancy, has very few places to go.
  5. Ma
    Ma is, at heart, an overly familiar story of terrorized teens, albeit one that manages to find a few new twists to that tired trope.
    • 70 Metascore
    • 63 Critic Score
    The Peanut Butter Falcon
    The film’s on-the nose allusions to Twain ultimately contribute to a sense of derivation, undermining the originality of the material and preventing “Falcon” from graduating from good to great.
  7. 5B
    5B is ultimately about survival, and the struggle at its center is undeniably a heartbreaking one. Too often, however, the filmmakers get in the way of their own story.
  8. American Woman
    It’s not an especially profound story. But it is a movingly rendered one, made watchable by an actress whose elastic performance bookends the film with two very different people.
  9. Echo In the Canyon
    “Echo” recalls a fertile era in the history of American pop music. But all too often, it wanders out of the very canyon that defines it.
  10. The Spy Behind Home Plate
    The film has more than enough true material to fuel an effective thriller, but director Aviva Kempner doesn’t quite manage to bring this fascinating figure to life.
  11. First Love
    First Love isn’t art, by any means, but it’s way more entertaining than it should be. One brief sequence, involving an airborne car, was probably too crazy — not to mention too expensive — to actually film, so Miike renders it as animation.
  12. 21 Bridges
    21 Bridges will win no prizes for originality or twists. (It won’t win any prizes for anything, to be honest.) But it’s made well enough. Brothers Joe and Anthony Russo (“Avengers: Endgame”) are the producers, and Irish director Brian Kirk (“Games of Thrones”) knows how to keep an old jalopy like this well-oiled to get us across the finish line.
    • 56 Metascore
    • 63 Critic Score
    DC League of Super-Pets
    Crass commercialism aside, the valiant voice cast and championing of animal companions earn “Super-Pets” a slightly longer leash.
  14. Mike Wallace Is Here
    It’s also a telling personal moment, because it opens the door to a discussion of Wallace’s struggles with depression and suicidal thoughts.
  15. Three Peaks
    Three Peaks is not a devastating film like “Force Majeure” — another mountain-set foreign film about the exposure of fissures in a family dynamic — but it is a satisfying one. There’s just enough closure to its inconclusive climax to allow you to relax, even if it doesn’t give you much to terribly ponder during the drive home.
    • 51 Metascore
    • 63 Critic Score
    The Bad Seed
    The Bad Seed was a successful novel and Broadway play before it was made into a movie, and the melodramatic quality of much of the writing and acting betray these roots. But the movie's artful black-and-white cinematography still contributes much to making this a remarkably gripping chiller. [05 Apr 1987, p.Y6]
    • Washington Post
  17. El Cid
    It's overly long and it's overly melodramatic, but it's also a perfect example of the kind of film they just don't make anymore, because they can't.
  18. Wise Guys
    Wise Guys, a surprisingly sweet, but sluggish Mafia farce, teams easy-going Joe Piscopo with driven, dangerous Danny De Vito in a neo-Abbott and Costello Meet the Godfather.
  19. Soul
    This dazzling, if ultimately frustrating, movie seems to pick up where the far superior “Inside Out” ended, leaving behind the inner workings of young people’s emotional lives for an exploration of metaphysical realms that are fuzzier, more speculative and, to put it bluntly, not nearly as involving.
  20. The Little Girl Who Lives Down the Lane
    While it's too pat, Little Girl is several cuts above thrillers in the dopey, bedraggled class recently exemplified by Burnt Offerings and The Sentinel. [17 May 1977, p.B9]
    • Washington Post
  21. Black Widow
    As gratifying as it is that Johansson has finally gotten the movie her character has long deserved — not to mention a worthy and equally watchable foil in Pugh — “Black Widow” simultaneously feels like too much and too little. Do svidaniya, Natasha — we hardly knew ye.
  22. Doctor Strange in the Multiverse of Madness
    There’s stuff to like in “Multiverse”: amazing effects, surprise cameos, even the unexpectedly moving scene in which Wanda realizes she has, at last, become a monster. But there’s also stuff that’s just, for lack of a better word, annoying.
  23. Thor: Love and Thunder
    By now, it must be said, the quips are beginning to wear a little thin, the vinyl-era needle drops a little less cool, the quotation marks a little more obvious among the ironic references and self-mocking bonhomie. Still, Thor: Love and Thunder is out for a good time, even if the journey doesn’t feel quite so novel or giddily buoyant.
  24. Aquarela
    As startling as the crisp and, yes, dramatic images may be, a sense of slight monotony sometimes creeps in after so many shots of ice, calving glaciers, heaving waves, sea foam, rain, snow, fog, mist, etc. Despite these occasional moments of tedium, however, the film is at once chilling and likely to make your blood boil.
  25. Motherless Brooklyn
    Norton, who wrote and directed Motherless Brooklyn, does his best to imitate the genre’s snappy dialogue and clever red herrings; but what starts out as a mystery as intelligent as it is intriguing winds up being over-plotted didactic.
  26. Ema
    Di Girólamo delivers a performance that is, like the combustible fuel inside the tank strapped to her back here and there throughout the film, intense, hot, destructive — and hard to look away from.
  27. The Laundromat
    As inventive as The Laundromat is as an information vector, though, its semi-ironic tone is at odds with the content at hand: This is a movie that often feels like it’s fighting itself, asking viewers to be charmed by Oldman and Banderas’s characters one moment, and — maybe? — outraged the next.
  28. Before You Know It
    Before You Know It isn’t a deep movie, or a hilarious one, and Utt and Tullock probably don’t expect it to be. But it is, in its undemanding, almost effortless way, warm and wise and watchable enough to be just this side of wonderful.
    • 60 Metascore
    • 63 Critic Score
    To Wong Foo Thanks for Everything, Julie Newmar
    Directed by Britain's Beeban Kidron, To Wong Foo has a split personality—it feels like three separate spliced-together movies with the same characters. Part I is the most fun, as we watch Swayze and Snipes undergo their transformation, a la Torch Song Trilogy.
  30. Zombieland: Double Tap
    There’s a repetitive — but not necessarily redundant — quality to Zombieland: Double Tap, a violent, funny and satisfying sequel to the 2009 cult hit zombie comedy.
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