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. I Smile Back
    Although the plot is painfully familiar — and not particularly edifying, compared with similar narratives that have gone before — the novelty here is Silverman, who doesn’t exactly erase her comic persona so much as bring to the surface an inherent darkness that has always lurked in the shadows.
  2. Ten Thousand Saints
    The movie captures the city vibrantly, in moments of beauty and brilliance.... But Jude, our narrator, is paper thin.
  3. Unexpected
    Unexpected would have been enriched by a more generous balance between the two characters’ worlds. But Swanberg shows a sure, sensitive hand in limning the upshots and downsides of life’s most blessed events.
  4. Boy Meets Girl
    Often, it feels conspicuously educational. The movie is far better when it focuses on its intimate story of love between family and friends in a small town.
  5. Blackbird
    The heart of the movie is in the right place. And although some of the acting from the younger stars comes across as amateurish, a few performances truly shine.
  6. Free State of Jones
    As gratifying as it is to see forgotten history brought to light, it’s disappointing, too: There’s an epic story to be told within Free State of Jones, but this white-knight tale isn’t it.
  7. The Danish Girl
    For all of the virtuosity of Redmayne and Vikander’s performances, and for all its sensitivity and aesthetic appeal, The Danish Girl is content simply to present the ambiguities and contradictions of Lili and Gerda’s story, rather than delve into their gnarlier corners.
  8. 3 Hearts
    The gently perfumed air of impending doom suffuses 3 Hearts, a tasteful, mildly intriguing romantic drama from writer-director Benoît Jacquot.
  9. The Magnificent Seven
    The Magnificent Seven is fine as far as it goes, but — especially when the familiar strains of the 1960 theme song begin wafting over the final scenes — one can’t help feeling that it should have gone much further.
  10. The Forecaster
    The bigger mystery is whether the models actually work. Though the Armstrong partisans in the film strongly suggest that they do, director Marcus Vetter struggles to convince the lay viewer.
  11. Hello, My Name Is Doris
    Hello, My Name Is Doris is a weirdly off-plumb little movie, one that manages to be condescending and compassionate, knowing and blinkered, reassuring and unsettling all at the same time
  12. Learning to Drive
    Learning to Drive would be an entirely inert expedition were it not for Clarkson, who plays against Kingsley’s sentinel of propriety with her signature radiance and birdlike gracefulness.
  13. The Human Experiment
    The movie was nicely shot with flashy graphics to explain the data that does exist. But in the end, this film will persuade only those who already believe.
  14. The Secret Life of Pets
    The humor is generic. And the film’s most obvious comparison — it’s been called “Toy Story” with animals — only points up the one thing “Pets” lacks, and that any animal lover will tell you their furred and feathered friends have, in spades: personality.
  15. Aloft
    The characters in Aloft seem to float over their strong passions, like birds riding on columns of air, without ever alighting. I kept waiting for the sharp sting of a talon to take hold of my heart, but it never came.
  16. Billy Lynn's Long Halftime Walk
    The film’s subtly observed moments are more powerful than any of its technical wizardry.
  17. Maze Runner: The Death Cure
    Despite a strong cast, striking locations and slick digital effects, the overlong movie lurches from chase to battle to soul-searching quietude — and then back again — in frustratingly generic action-movie style. It’s just one darn thing after another.
  18. The 100-Year-Old Man Who Climbed Out the Window and Disappeared
    Whimsical, fantastical and self-consciously charming, it slinks around viewers’ ankles like an affectionate cat, purring ever more loudly until the audience can’t help but succumb.
  19. Heaven Knows What
    What elevates Heaven Knows What above other run-of-the-mill wallows in aimlessness and self-destructive compulsion is Arielle Holmes.
  20. Storks
    Storks delivers its package, but it’s a bundle of just-okay, not joy.
  21. Pacific Rim: Uprising
    Uprising is loud, packed with impressive effects and propulsive — or as propulsive as a car with no brakes going downhill — but it lacks the heart of del Toro’s original.
  22. Marie's Story
    The movie by Jean-Pierre Améris milks the tears in the home stretch, making little effort to hold the melodrama at bay. The result is a story that everyone can feel great about feeling terrible about.
  23. Irrational Man
    Irrational Man isn’t a comedy. There are, however, moments that invite rueful chuckles of recognition, especially when Posey’s character is giving Abe the business. She strikes a welcome madcap note in what is otherwise a series of bland medium shots of people talking.
  24. American Ultra
    American Ultra has a clever premise. But it misses several opportunities to at least comment on, if not skewer, the spy movies that it only halfheartedly pokes fun at. As it is, it’s content to generate a low-grade buzz, rather than deliver a true high.
  25. Legend
    Hardy is extraordinarily good at evoking the fraught fraternal connection between the Krays.... But the film is ultimately unable to plumb the Krays’ deepest souls, if they even have any.
  26. Love at First Fight
    The actors make the movie’s memorable characters all the more indelible, even when Love at First Fight loses its sense of originality.
  27. Green Room
    Aficionados of gore and guts may not mind the comfortably lived-in feel of this blood-spattered Green Room. But anyone looking for the ferocious originality, and unexpected humanity, of “Blue Ruin” will be disappointed by Saulnier’s uninspired cover version of a song we all know.
  28. Disorder
    Disorder is, in other words, more of a technical achievement than an artistic one. The movie is at its best when it recreates what it must feel like to be in a constant state of paranoia and pain. If only that feeling were accompanied by one or two other emotions.
  29. Yakuza Apocalypse
    Miike sets up entire sections of Yakuza Apocalypse like an endurance test. If the film’s title and the promise of ear fluid are not deterrents, then maybe you’ll be able to appreciate the sheer energy and audacity of his unapologetic vision.
  30. Big Stone Gap
    Big Stone Gap suffers from some hokey moments, including an ending that’s both implausible and too heavy on the sap.
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