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. 3 Generations
    The cumulative effect is closer to a didactic after-school special for troubled parents.
  2. The Equalizer 2
    It’s purely unintentional, but the little numeral dangling, like a broken, mangled finger, from the end of the title of The Equalizer 2 signals more than the fact that this is a sequel to the 2014 action thriller about a violent vigilante. It also lets you know that there are two, and only two, pleasures to be had here.
  3. Daddy's Home
    There are a few laughs here and there. Most come at the expense of Ferrell, who plays the kind of hapless (and occasionally shirtless) straight arrow that the actor could turn out in his sleep.
    • 40 Metascore
    • 50 Critic Score
    Pitch Perfect 3
    Although Kendrick’s pint-size dynamo once pushed the Bellas beyond their la-la-la comfort zone, she basically sleepwalks through this third go-round.
  5. Samba
    Like “The Intouchables,” Samba is loosely plotted and is at least 20 minutes too long. It seems ready to end half a dozen times before it finally does, with ironic payoffs for Samba and Alice that are too glib to be satisfying.
  6. Solo: A Star Wars Story
    Solo: A Star Wars Story gets the job done with little fuss, but also with precious little finesse. It might arguably succeed in teeing up the cinematic narrative that would change movies forever. But in both substance and execution, it bears but a whisper of the revolution to come.
    • 63 Metascore
    • 50 Critic Score
    Steak (R)evolution
    The meat is supposed to be the most beautiful thing in the documentary, but I found myself more drawn to the lingering shots of shaggy cows, silhouetted on European mountainsides, with their tousled bangs blowing in the wind.
  8. Our Brand Is Crisis
    The movie turns out to be something we’ve seen before: an underdog tale mixed with a redemption narrative.
  9. A Brilliant Young Mind
    A Brilliant Young Mind is less stuffy than the usual cinematic ode to British smarts and schooling. But that still can’t save this tale of eccentric genius from being profoundly conventional.
  10. Sneakerheadz
    Perhaps Sneakerheadz needs a sequel, one that more directly interrogates the shoe manufacturers themselves about the hazards of pumping up so much hype about their product.
  11. The Star
    The movie is sincerely Christian in its outlook, while also a slapstick animal ’toon. It’s a mix that works only intermittently. But when it doesn’t pop, it thuds.
  12. Shanghai
    Shanghai is an exercise in retro glamour, alluring decadence and tough-guy posing, all of which it delivers in sufficient quantities.
  13. Tab Hunter Confidential
    Hunter proves to be an engaging if low-key narrator, whose greatest asset is his refusal to take himself too seriously.
  14. Miss You Already
    When Miss You Already works, it’s because of the cast.
  15. The Warriors
    None of Hill's dynamism will save The Warriors from impressing most neutral observers as a ghastly folly. It seems a little demented to choose gang warfare as a pretext for showing off virtuoso technique. [10 Feb 1979, p.C7]
    • Washington Post
  16. My All American
    My All American plays like an extended highlights reel, not a movie.
  17. Front Cover
    Front Cover is weighed down by heavy-handed dialogue and a melodramatic score.
  18. Hardcore Henry
    The sense of goofy, if gory, good humor [Copley] brings to Hardcore Henry goes a long way toward mitigating the film’s tedious barbarity.
  19. High-Rise
    The overly schematic nature of High-Rise does not entirely diminish its pleasures as a story, which include, in addition to Wheatley’s richly lurid visual sensibility, an effective metaphorical tool in Laing.
  20. Olvidados (Forgotten)
    Despite numerous missteps and contrivances, Olvidados succeeds as an indictment of Operation Condor’s horrors.
  21. Sunset Song
    Sunset Song is a gritty and gorgeous film. Perhaps a little too gorgeous, in fact, and not gritty enough.
  22. Mr. Right
    The film’s likeable leads almost carry off a dark premise: that the love that strengthens this couple also makes them dangerous.
    • 50 Metascore
    • 50 Critic Score
    Lolo
    Lolo presents a sympathetic take on the ways that midlife romance can push us to reevaluate our relationships, even — maybe especially — the ones we think we know best.
  24. The Big Short
    Upon leaving The Big Short, audiences are likely to feel less enlightened than bludgeoned with a blunt instrument, albeit one wrapped in layers of eye-catching silks and spangles: You may be too old to cry, but it hurts too much to laugh.
  25. Risen
    Risen turns out to be an intriguing, if ultimately frustrating, retelling of the familiar story, here reconfigured as a detective procedural.
  26. The Pearl Button
    The Pearl Button may not answer all the questions it raises, yet it is an absorbing experience — at least for anyone with a taste for beauty over insight.
  27. Bridget Jones's Baby
    Even considering its optimistic, open-ended conclusion, Bridget Jones’s Baby feels like an affectionate, slightly overdue goodbye to characters whose time has inevitably passed.
  28. The Man Who Knew Infinity
    The Man Who Knew Infinity tells a great story. It’s just that it’s a little too by-the-book to make anything other than a so-so movie.
  29. Criminal Activities
    Just when you’re about to write off your investment in Criminal Activities, the third-act dividend pays off, in spades.
  30. Halloween III: Season of the Witch
    Obliged to launch the hero on an effective counterattack down the stretch, Wallace goes through the motions proficiently enough for exploitation thriller purposes. He should have quit while he was ahead, but Halloween III demonstrates a reasonable ability to control comic-horror effects on his first derivative try. [27 Oct 1982, p.D9]
    • Washington Post
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