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 5.2 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. Lightyear
    If the film is aspirational, showing Andy what it means to be a dependable ally, then MacLane sacrifices pure entertainment for a loftier purpose. A more straightforward clash between good and evil might have touched on the same themes, without sacrificing the action kids could mimic with toys.
    • 52 Metascore
    • 50 Critic Score
    National Champions
    As an attempt to expose college athletics for what it is — a laughably lucrative hierarchy that relies on free labor by student-athletes to line the pockets of coaches, commissioners and other bigwigs — National Champions gets a notch in the win column.
  3. The Lost City
    The two actors have charisma to burn, finely tuned comic chops and the kind of smoldering physical star power that manages to look effortless and superhuman at the same time. But even gifts as prodigious as Bullock’s and Tatum’s can’t keep “The Lost City” afloat.
  4. Blacklight
    For fans of Neeson as action hero, “Blacklight” may be something of a disappointment, at least measuring it against the yardstick of previous thrillers in this particular branch of the actor’s body of work.
  5. The Pink Cloud
    It feels sharply, even painfully true, while also hazy and nonspecific. Its head is in the clouds, while its feet are grounded in the very real catastrophe we are all currently suffering through.
  6. X
    It has certain je ne sais quoi, if graphic nudity, self-referential humor and serial murder — neck stabbing, eye gouging, alligator munching and shotgun blasting — are your thing.
  7. Peter von Kant
    There are pleasures to be had here, though it wouldn’t be accurate to call “Peter” fun, by any stretch of the imagination. At times this admiring but uninspired making-of movie feels like the cinematic equivalent of the Karl/Marlene character: fawning to the point of sycophancy.
  8. When You Finish Saving the World
    It’s a slight and simplistic family dramedy: vividly rendered if vaguely cartoonish in its depiction of a parent and adolescent, once close, who find themselves unable to connect.
  9. Breaking
    In the end, “Breaking” feels like a foregone conclusion: a dismal portrait of a system — and a someone — already irreparably broken.
    • 62 Metascore
    • 50 Critic Score
    Call Jane
    The result is a film that’s engaging enough, but choppily paced and oddly inert. Beyond an audacious opening shot and some period-appropriate needle drops — Nancy Sinatra, Malvina Reynolds and Vanity Fare among them — Call Jane is also decidedly unstylish.
  11. Master
    Master might be a horror film, but its scariest elements are off screen, in the form of the persistent social realities that inspired it.
  12. Alice
    It’s a fantastic idea, but the execution is inconsistent. Alice, the movie, dares to go through the looking glass, but it doesn’t entirely know what to do once it gets there.
  13. Honk for Jesus. Save Your Soul.
    Yes, “Honk” picks some low-hanging fruit. But it also, as it turns out, leaves a sour aftertaste in the mouth.
  14. Resurrection
    Resurrection ultimately leaves us, like Gwyn, wondering if the story that’s just been dropped in our laps — a kind of sick, surreal poetry, fashioned out of curdled blood and guts — is a new breed of monster movie or some old-fashioned metaphor of loss made flesh. Sadly, given its acting pedigree, it doesn’t really work on either level.
  15. Renfield
    Cheesy, strident, ridiculous and sometimes disarmingly, stupidly funny, Renfield doesn’t go for the jugular as much as give it a playful and quickly forgotten love bite.
  16. Infinite Storm
    The film’s inertness is unexpected, and a tad disappointing, considering that first-time screenwriter Joshua Rollins has unearthed some genuinely fascinating details about Bales’s backstory that were not in either published account of the rescue.
  17. I Am Here
    I Am Here is, at its core, something much less complicated: a bearing of witness to horror. It’s inspirational, yes, but sadly far from unique. In its oft-heard contours, then, lies both its power and its tragic familiarity.
  18. Ticket to Paradise
    Though lacking in the script department, this cinematic wonderland delivers on one promise: escape, to a place of such natural beauty that even these affluent characters, however cardboard, are forced to take stock of the important things in life.
  19. Amsterdam
    It’s all diverting, if not ultimately sustained. Although the cast is thoroughly committed, as “Amsterdam” wends its way to its hysterically pitched climax, it sometimes feels like it’s two very different movies.
  20. Kiss of Death
    All Jimmy wants is for his life to return to normal. But Price and director Barbet Schroeder haven't done a very good job of letting us know who this guy is—or even what normal is to him. Schroeder also shifts back and forth between a tone of earnest homage to the mood and feel of the classic thriller to one that sends up the genre, laughing slyly behind its back.
  21. Trapped in Paradise
    Trapped in Paradise, a heist caper starring Nicolas Cage, Jon Lovitz and Dana Carvey, gets lost in a snow flurry of subplots and formulaic run-and-chase -- right around the time you've settled in for a good comedy.
  22. Bardo, False Chronicle of a Handful of Truths
    Bardo seems to be Iñárritu’s deeply personal — if hermetic — attempt to make sense of the conflicting and unresolved impulses that have animated his life and art over the past two decades, during which he’s gone from promising emerging filmmaker to Oscar-winning superstar.
  23. The Banshees of Inisherin
    It’s possible to see why McDonagh’s fans love his quirks and clever structural feints (the war of wills in “Banshees” often plays out like variations on a theme), as well as his characters’ willingness not to be liked. But what they find at the end of the filmmaker’s rainbow is less likely to be a pot of philosophical gold than prosaic self-satisfaction.
  24. She's the One
    But this unsavory stew is just plain overcooked.
  25. Beast
    The jump scares are genuinely jumpy, but the film plays out more like a theme park ride than a family drama with teeth. It’s pulse-pounding, in other words, from a cardiac perspective, but not especially engaging as a narrative, despite the earnest efforts of the cast to breathe life into a personal story arc that feels pasted onto another one.
  26. Strange World
    Maybe Strange World only seems to falter because it can’t handle the weight of its own expectations. Nah. It’s just not very good.
  27. Champions
    Quotation forthcoming.
  28. Testament
    A dreadfully earnest but fatally uninspired effort to compress the aftermath of an epic catastrophe, massive nuclear war, into a small-scale family memoir.
  29. Asteroid City
    Maybe the whole endeavor is some kind of self-portrait of an artist who doesn’t know what he wants to say anymore, or how to even say, “I don’t know how to say what I want to say anymore.”
  30. The Good Boss
    Despite some quality craftsmanship, “The Good Boss” ultimately doesn’t pay off. Capitalism should be more fun than this.
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