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. But Always
    Snow Zou’s directorial debut does have a few noteworthy attributes: attractive stars, sun-dappled cinematography and an audacious payoff.
    • 65 Metascore
    • 50 Critic Score
    Memphis
    [An] aimless but oddly charismatic film.
  3. Triple 9
    Triple 9 feels more like a collection of good scenes than a novel, propulsive whole. Viewers are apt to be entertained by the film’s visceral pulp pleasures, but left apathetic when it comes to its instantly forgettable genre cliches.
  4. All That Jazz
    By the time the film is over, the movie has degenerated with a jaundiced vengeance. Fosse's sour, grandstanding cynicism imposed an intolerable burden of self-pity on his talent, our compassion and the tradition of the backstage muscial.
  5. The Keeping Room
    The Keeping Room raises difficult moral questions, yet it wallows so relentlessly in gloom that it is a challenge to care about what happens to its characters.
  6. A Little Chaos
    Though it purports to be about the delights of disorder, “A Little Chaos” feels like yet another by-the-book period romance, only without the genre’s requisite spark between the main characters.
  7. Black or White
    The performances are fantastic across the board, with Costner acting in his trademark low-key naturalistic style and Spencer as the picture of no-nonsense maternal love. But their efforts can’t make up for overly simplified characters, not to mention melodramatic exchanges that sound exactly like written dialogue.
  8. Beloved Sisters
    Without at least the tawdry pleasure of a little bodice ripping, the film moves along sluggishly, even though it is well acted and handsomely shot.
  9. Maze Runner: The Scorch Trials
    It’s not a bad movie. It’s like several pretty good ones.
  10. Taken 3
    The film dutifully cleaves to the contours of a well-established and viscerally satisfying formula.
  11. Bitter Honey
    It would be nice to know if the troubling images we see are a sweeping problem or just a small glimpse of a minority.
  12. The Water Diviner
    Crowe clearly seeks to return to classic storytelling values with this sweeping-yet-intimate, serious-yet-swashbuckling, hither-yet-thither picaresque; that he succeeds only part of the time shouldn’t detract from the worthiness of his mission.
  13. I Am Ali
    In the wake of numerous documentaries and a big-budget film, writer-director Clare Lewins can find little fresh material.
  14. 23 Blast
    Despite the decent performances, the script by first-time screenwriter Toni Hoover (who reportedly Googled “how to write a screenplay” after deciding to chronicle the story of her blinded football-playing friend) swings from flat to overly sentimental, while Baker’s rookie direction is predictable and occasionally confusing.
  15. The Last Witch Hunter
    As Kaulder, Diesel does what he does, rumbling out lines of silly dialogue in his subwoofer of a voice. As far as acting goes, there’s not much.
  16. Plot for Peace
    [A] sometimes fascinating, often convoluted, movie.
  17. Captain Marvel
    As shaky and unfocused as Captain Marvel often seems, it manages to reach its destination with confidence. In the end, Larson sticks the landing, albeit with something more muted than absolute triumph. The final takeaway is clear. Mission accomplished: More movies ahead.
  18. Bhopal: A Prayer for Rain
    Some of the portrayals are over-the-top in their villainy, and the dialogue, acting and music all tend to be melodramatic. But all of the overt heartstring-pulling doesn’t add much. Given the awful calamity, the truth would have been enough to amp up the emotions.
  19. Inside the Mind of Leonardo
    Not quite documentary, yet by no means drama, Inside the Mind of Leonardo is what might be called poetic biography: maddeningly fragmentary and idiosyncratic, but 100 percent true.
  20. The Intern
    Meyers seems content to make a nice movie about nice people doing their best to be nice to each other despite one or two not-nice things that happen along the way. That’s all very nice, but not particularly the stuff of potent or rousing entertainment.
  21. The Revenant
    Despite the literal and figurative pains it takes to persuade viewers of its own importance, The Revenant can’t escape the clutches of crippling self-regard.
    • 33 Metascore
    • 50 Critic Score
    Alvin and the Chipmunks: The Road Chip
    The movie does nothing special or surprising, but it doesn’t particularly offend, either.
  23. Jason Bourne
    Jason Bourne belongs to Damon and Greengrass, whose admirable — and entirely appropriate — goal of playing it for kicks comes across, this time around, as an oddly joyless chore.
  24. Pete's Dragon
    Despite the vastly improved visuals, the new film is just as soft-hearted — and, unfortunately, just as mush-headed — as the earlier one.
  25. Ghost in the Shell
    This version may not break new ground, but it revisits familiar territory with a vibrant sense of style and welcome restraint. It exemplifies the kind of respectable and utterly unnecessary remake that now defines the Hollywood business model.
  26. Avatar: The Way of Water
    The action in “The Way of Water” is ultimately overwhelming, betraying an uncomfortable truth about Cameron: He might preach environmentalism and balance, calling on Indigenous peoples for their gentle worldviews and material culture. But at heart, he’s just as aggressive and all-commanding as the bad guys he portrays with such oorah swagger.
  27. The D Train
    A modestly funny, little bit dark, occasionally knowing, not entirely cynical comedy that, to the extent that it succeeds at all, does so thanks to James Marsden.
  28. I Am Michael
    I Am Michael, is an intermittently affecting — but not entirely convincing — conversion story.
  29. Sleeping with Other People
    The romantic comedy boasts two winning leads in Jason Sudeikis and Alison Brie, as well as some sweet, funny moments amid the Aaron Sorkin-esque dialogue — courtesy of writer-director Leslye Headland — that’s a little too clever for its own believability.
  30. Cop Car
    The film is full of quiet little truths.
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