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. Invisible Beauty
    By the end of Invisible Beauty, it’s obvious from all the accolades that [Hardison] made a difference in the lives of a new generation of Black models.
  2. Xala
    The major problem with the film is that the exposition is not nearly as clever as the premise. After warming to the idea behind the movie, one tends to cool off as it trudges toward a resolution.
  3. The Marsh King's Daughter
    The film’s execution isn’t entirely convincing. It’s not the actors’ fault.
  4. Godzilla x Kong: The New Empire
    Wingard’s not a sentimentalist, and “Godzilla x Kong” stumbles whenever he tries to slap phony emotions onto the film to make it more like a generic crowd-pleaser.
  5. Radical Wolfe
    To judge from his film’s style, it also seems likely that Dewey just doesn’t have the patience for a subtle approach.
  6. The Storms of Jeremy Thomas
    British documentarian Mark Cousins’s The Storms of Jeremy Thomas is a fine introduction to the 70 or so films produced by the titular London-born impresario. It’s barely an introduction at all, however, to Thomas himself.
  7. The Promised Land
    What begins as an intriguing visit to a forbidding but fascinating past becomes the kind of perfunctorily moralistic fairy tale that Kahlen himself might scoff at, before getting back to work. Like the wilderness it depicts, this is a movie that ultimately might not want to be tamed.
  8. The Beast
    The film “The Beast” is a Russian nesting doll of genres: a belle epoque romance set inside a contemporary serial-killer thriller set inside a dystopian sci-fi drama.
  9. The Pigeon Tunnel
    The lack of tension between Morris and his subject diminishes the film’s energy.
  10. The End We Start From
    The story slows to a crawl toward the end, even with a scene featuring a carjacking. But in its relentless focus on Comer’s Mother with a capital M, as she is called, and her character’s almost primal determination, it gets somewhere that feels unforced and, however uneventful, real.
  11. Sorry/Not Sorry
    Produced by the New York Times, which broke the story, and with its authors Melena Ryzik, Cara Buckley and Jodi Kantor appearing on camera and listed as consulting producers, “Sorry” sticks a finger in a wound that, for some of those involved, hasn’t quite healed.
  12. Sing Sing
    As much as the script quotes Shakespeare, it’s a lot closer to “The Shawshank Redemption,” a well-meaning reminder that the incarcerated are human beings, too.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Daddio
    Daddio may stay too long at the fare, but its maker is hardly a hack.
  14. Housekeeping for Beginners
    It’s hard to fault Goran Stolevski’s “Housekeeping for Beginners” for being chaotic and miserable. That’s the mood he’s after — and he captures it with such assurance that the film is a tough watch.
  15. We Grown Now
    It’s a simple, gentle tale that’s told beautifully but feels hollow — like a eulogy for an acquaintance.
  16. The Book of Clarence
    Whether it works depends less on piety than on taste. Beneath the giddy subversion, there’s a cheerless solemnity — a splash of Mel Gibson’s “The Passion of the Christ,” as it were — that often comes close to curdling the farce.
  17. The Boys in the Boat
    A good-looking, engrossing, true tale, superficially much like 1981 best-picture winner "Chariots of Fire," but without that Olympic drama's themes of antisemitism and faith. If The Boys in the Boat is missing something, it's substance.
  18. Inside Out 2
    Design-wise, the “Inside Out” characters are Pixar’s crudest work, with the blocky colors and stiff hair of a creature in a TV commercial for insecticide. Blown up to the big screen, they just look worse. Narratively, however, the film’s portrait of Joy is beautifully complex.
  19. Kung Fu Panda 4
    The humor is often over-caffeinated and anarchic — a style that suits the production — but when the film dares to slow down, it has a gift for reworking classic gags, like a wordless shot of animals stampeding through a china shop.
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    Bird
    There are pieces of a great movie here, but they never quite come together in a way that allows a gifted filmmaker to take flight.
    • 71 Metascore
    • 63 Reviewed by
      Ty Burr
    Blitz
    Steve McQueen’s “Blitz” is a triumph of production design; unfortunately, what it triumphs over is story.
    • 46 Metascore
    • 63 Reviewed by
      Ty Burr
    Joker: Folie à Deux
    With more daring than success, Joker: Folie à Deux says that anyone who takes the Joker for a hero to be emulated is as delusional as Arthur Fleck, and it serves up its comic-book cake at the same time it stuffs it with rat poison.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Beetlejuice Beetlejuice
    It’s sprightly enough to make a lot of audiences and Warner Bros. bean-counters happy, but it also confirms that one of the most distinct visionaries in American film history has become a corporate repurposing machine. It’s not insane, and that hurts.
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    Freaky Tales
    The mystery is why a movie so hell-bent on having fun feels so formulaic.
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    My Old Ass
    As written by Park and performed by Stella and Plaza — both players with crack comic timing — the interplay between the two Elliotts is the best part of “My Old Ass.”
    • 61 Metascore
    • 63 Reviewed by
      Ty Burr
    Suncoast
    As filmmaking, the movie is straightforward enough — unobtrusively shot, sensitively scored, lacking only a sense of urgency in its pacing. As a memory play and a launchpad for both a writer-director and the young actress playing her, it’s a very good start. And as your latest reminder that Laura Linney can do just about anything, it’s a bracing kick in the pants.
  27. Super/Man: The Christopher Reeve Story
    Super/Man is a weeper, to be sure, for the reminder it brings to fans that this Man of Steel was only flesh and blood.
  28. In a Violent Nature
    It’s frustrating and distracting when flat direction, inconsistent effects and wooden acting break the spell, making it more and more of a slog to stay interested as Johnny slices and dices his way through the film’s 94-minute run time.
  29. War Game
    As a simultaneously slick and provocative entertainment, “War Game” is chilling and a tad infuriating, offering a white-knuckle ride — “Civil War” for policy wonks — that may feel a bit too fresh in the memory for viewers who are still traumatized by the real thing.
    • 82 Metascore
    • 63 Reviewed by
      Ty Burr
    Ghostlight
    Made without stars or much of a budget but with a lot of heart and good vibes, it’s an exemplary and moving independent film.
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