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. Fall
    Lots of people pay good money to endure the kinds of thrill rides that make them wish they were back on solid ground. Fall does the same thing, but with the added benefit of being entirely vicarious.
    • 76 Metascore
    • 50 Critic Score
    Pearl
    As a prequel, it never finds its footing, bogging down a potentially fascinating character study with unnecessary details — traveling old paths instead of seeking new ones. “Pearl,” like the version of the character we see in “X,” is stuck in the past.
  3. Book Club: The Next Chapter
    Even amid the corny jokes, awkward segues, forced conflicts and predictable resolutions, Bergen and Giannini manage to develop a low-simmer chemistry between the insults.
  4. Cats Don't Dance
    The only thing parents need fear is utter boredom.
  5. The Nun II
    It’s all so confusing. But reason is an obstacle to appreciating The Nun II. What you need, like Irene and Debra, is faith — in this case, in the power of pure nonsense.
  6. Master Gardener
    I wanted to buy this story. I really did. But its protagonist floats through the action — filled with jealousy, lust and violence — as though he were anesthetized.
  7. Rita, Sue and Bob Too
    The movie's sense of humor is brash and shaggy, and Rita does have a couple of fliply delivered comebacks. But on the whole, there's not enough variety or definition to hold your attention. Too much is all on the same pitch.
  8. Alice, Darling
    Alice, Darling deserves praise for emotional verisimilitude and shading. It’s just a shame that, in some of its packaging, it oversells a story worth hearing.
  9. Moving On
    It’s an emotionally stagnant affair, whether it’s going for laughter or tears.
  10. Emancipation
    Directed by Antoine Fuqua with an occasionally puzzling combination of restraint and stylization, Emancipation turns a potent image into a pageant of spectacle and suffering.
  11. Lynch/Oz
    Lynch/Oz possesses undeniable value, if only to remind viewers that cinema is worth dissecting, thinking about, arguing over, mulling around.
  12. The Storied Life of A.J. Fikry
    In The Storied Life of A.J. Fikry, deeper meaning is left by the wayside, in a tale with way too much story and not nearly enough life.
  13. A Haunting in Venice
    A Haunting in Venice isn’t exactly a barrel of laughs. But that’s no doubt as intended by Branagh, who seems intent on rescuing Poirot from the reassuring, too-cute world of “cozy” mysteries and grounding him in the real-life loss and emotional dislocation of the postwar eras from which he sprang.
  14. Blind Willow, Sleeping Woman
    Somehow, for all the work that went into the film, it comes across as something that may have worked better as an audiobook.
  15. Last Man Standing
    In this banal era of smart-aleck parodies and homages, Last Man Standing amounts to stylistic overkill.
  16. Better Than Chocolate
    You'd think indie filmmakers would have learned by now that people tend to put on a sober face when addressed from the pulpit.
  17. Beau Is Afraid
    The sad truth is that, for all his ambition, cinematic prowess and hyper-confessional candor, Aster doesn’t stick the landing. Instead, he’s made a movie about unresolved ambivalence that itself goes confoundingly unresolved.
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    Back to Black
    The new movie, in fact, has been made with the approval of the Winehouse family; coincidentally or not, “Back to Black” has the feeling of a whitewash.
  19. 80 for Brady
    A serviceable mash-up of sitcom and sports flick, 80 for Brady should please fans of Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field and/or Tom Brady. Everybody else might want to call a timeout.
    • 65 Metascore
    • 50 Reviewed by
      Ty Burr
    Magazine Dreams
    The movie stands as a statement of a gifted, troubled actor’s intense commitment to his craft. Beyond that, it is a punishment.
  21. The Persian Version
    The Persian Version is an ambitious effort to suture up the rift between past and present, parent and child. But like its heroine, it also suffers from a bit of split personality. It’s a tale with too much drama for the candy-colored comedy of its telling, and too much comedy for the drama to leave much of a mark.
  22. Landscape with Invisible Hand
    With the exception of a few choice words from Haddish, Landscape With Invisible Hand lacks the kind of steady humor and energy that would otherwise keep the story afloat.
  23. Strays
    There are laughs to be had here, yes, but your mileage will vary depending on your tolerance for sophomoric bathroom humor and gratuitous vulgarity.
  24. Kandahar
    Kandahar is very much a box-ticking exercise, with Butler playing the same kind of hero — perhaps literally the same guy — he has built a career out of.
  25. My Big Fat Greek Wedding 3
    For all its faults, My Big Fat Greek Wedding 3 manages to just get by on pretty scenery and a meticulous inoffensiveness. What else is there to say but, “Opa!”
  26. Sweetwater
    The result is competent and informative, but lacks swagger and elegance. Sweetwater is no three-pointer.
  27. About My Father
    This a sweet, mostly cute story about the importance of the people we’re related to, peppered with some fairly broad and not especially hilarious yuks.
  28. Carmen
    Overwrought and overthought, this Carmen somehow winds up being underbaked, as Millepied throws various ideas at the screen, with precious few taking hold with any conviction.
  29. Golda
    The film does have its moments, mostly involving the relationship between Meir and U.S. Secretary of State Henry Kissinger, nicely played by Liev Schreiber, whose character engages in delicate negotiations with her over a bowl of borscht, speaking in a seductive, diplomatic rumble.
  30. The Miracle Club
    It’s a sterling cast, capably guided through the motions by director Thaddeus O’Sullivan — no relation to the author of this review, at least none that I know of — in this at times gently amusing and at other times modestly touching dramedy.
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