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. Loudmouth
    There is little in the film that offers insight into what makes him tick as a person.
  2. Plane
    Plane is a shot of adrenaline and fast-paced, brain-free fun.
  3. Luther: The Fallen Sun
    "Luther” is not without its pleasures, assuming you have the stomach for the kind of theatrical crimes that exist only in filmdom.
  4. Cassandro
    All this sporting entertainment turns out to be an unexpectedly mellow affair of the heart, with Bernal completely winning you over.
  5. Eileen
    A film that is by turns darkly comic and disturbing, both sensations brought into vivid, caustic relief by the film's mesmerizing star.
  6. Shortcomings
    If Shortcomings falls short in any way — hackneyed plot, halfhearted themes of assimilation and identity — it isn’t due to the two actors who carry the story across the finish line.
  7. Radical
    Like Sergio’s unusual modus operandi, Radical takes some time to click, its first half as unstructured as Sergio’s classroom. But at about the halfway point, when the kids discover the excitement of learning, it becomes as thrilling as any blockbuster.
  8. The Boogeyman
    On one level, it can be read as a metaphor for grief, kind of like “The Babadook,” which covered the same ground, albeit to greater effect. But by choosing literalness over ambiguity, The Boogeyman doesn’t quite stick the landing like that richly allusive 2014 Australian film did.
  9. Tetris
    On a grand scale, Tetris offers a window into the looming collapse of the Soviet Union, and from that vantage point, it’s actually pretty fascinating. On the smaller stage, it’s a classically heartwarming underdog story — one that involves backroom wheeling and dealing and an 11th-hour escape from thugs that’s straight out of a Cold War espionage film.
  10. She Came to Me
    She Came to Me exists in between things: airy romance and psychological depth; operatic fantasy and gritty reality; farce and fatalism. Writer-director Rebecca Miller executes that balancing act with lighthearted audacity in a film that aspires, with fitful success, to resurrect the lost art of screwball comedy — with some literal opera thrown in for musical measure.
  11. The Killer
    As it is, The Killer is less a diamond than a piece of good-looking but cheap quartz: all sparkling surface and not much value.
    • 67 Metascore
    • 63 Critic Score
    Wild Life
    Wild Life is at its best when it focuses on Kris’s path toward renewed purpose after an unspeakable loss. By committing that journey to film, Vasarhelyi and Chin show off an invaluable skill: knowing when a story is worthy of preservation.
  13. Problemista
    The story is a familiar one — a young immigrant fetches up in New York to seek his fortune, only to be buffeted by a bumptious city and cut to the quick by its competitive edge — but Torres reshapes it into something simultaneously more fantastical and far more real.
  14. Ordinary Angels
    Ordinary Angels, an uplifting drama inspired by the effort to get a sick girl to a transplant hospital amid a massive 1994 Kentucky snowstorm, poses a challenge to cynics: Even if you could resist another spunky, heartstring-tugging Hilary Swank performance in this overstuffed true tale, who among us can deny the sublime beauty of Jack Reacher’s tears?
  15. The Lesson
    Echoing Liam’s review of Sinclair’s work in progress, I’d call the first two acts of the film cleverly constructed, fresh and fascinating, yet marred by a climax and conclusion that are unworthy of what came before.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    The End
    Oppenheimer has made a chamber play of and for the damned, and while it never fully escapes the laboratory of ideas, it shows a daring and lethally sharp creative mind at work. More, please.
    • 53 Metascore
    • 63 Critic Score
    Trolls Band Together
    Trolls Band Together is a glitter-encrusted variety pack of a movie. Packed with millennial boy-band humor, sibling love and snippets of pop songs, the third film in the Trolls franchise is an explosion of color tailored to a new generation of parents and their Gen Alpha kids.
    • 48 Metascore
    • 63 Critic Score
    Gran Turismo
    Where Gran Turismo works best is on the track. Director Neill Blomkamp adds some formalist flourishes to the driving sequences, turning what could have been a monotonous series of races into entertaining and engaging fun.
  19. Every Body
    The otherwise sober-minded film relies heavily on music cues that are sometimes a little too on the nose, as when a cover of Roy Orbison’s “Pretty Woman” plays under scenes of Weigel preparing to testify in front of legislators who see gender only as black and white.
  20. Firebrand
    A kind of satisfaction ultimately arrives, but it is not one for purists, or even lovers of speculative history. It feels tacked on: too little, too late, too ludicrous — the past rewritten as a form of wishful thinking.
  21. Faraway, So Close!
    Like the original, Wings 2 is endearing, even if it is a spiritual muddle.
  22. Persian Lessons
    Shot mostly in deeply shadowed interiors, the movie rarely makes effective use of its widescreen format. Indeed, it has a stagy quality and plays mostly as a series of theatrical exchanges between Gilles and Koch.
  23. I.S.S.
    Set on the International Space Station, the movie “I.S.S.” is a modest but satisfyingly suspenseful thriller whose central conflict between the six members of the station’s half-American, half-Russian crew is precipitated by a decidedly earthbound crisis.
  24. The Amateur
    The Amateur may be off to a rocky start as a spy franchise, but it scores one for the IT crowd.
  25. Dumb Money
    As a feel-good fact-based fable of financial comeuppance, Dumb Money is funny enough. But as its name suggests, it isn’t especially smart. Unlike its protagonists, it isn’t interested in making a quick buck, just an easy laugh.
  26. Ferrari
    Enzo Ferrari was a real person, not just a narrative device. No matter how ardently he sang of speed and danger, there must have been more to his character than Ferrari manages to find.
  27. Aporia
    To reference yet another cultural touchstone, Aporia comes across like an expanded, indie-film version of “The Twilight Zone.” It’s never going to set the world on a new and unfamiliar course, but it does its job well enough.
  28. The Exorcist: Believer
    If The Exorcist: Believer is all about devotion to spiritual (or at least cinematic) faith, its failure to live up to the power of the first film, which made zealots of even the most cynical moviegoers, borders on sacrilege.
  29. Jules
    In the end, Jules performs a magical if tiny bait-and-switch: It’s less a sci-fi parable — “E.T. the Extraterrestrial” for the AARP demographic — than a fairy tale reminding us that the tribulations of getting old are more natural than sad, and best done in the company of loved ones.
  30. The Plot Against Harry
    You're invited to fish for the comedy within the movie, within Harry's world, which happens to be falling apart around the hapless schlemiel's ears.
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