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 5.4 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. Difret
    This film is a necessary reminder of what can happen when people preserve tradition for its own sake.
  2. Testament of Youth
    Vikander never goes for the easy emotion, though, choosing instead to play against what conventional melodrama would dictate her reaction should be. This understatedness is always the right choice, and it makes for a far more effective — and affecting — film.
  3. James White
    James White gets up close and personal in often discomfiting ways, but it’s never exploitative or glib. It hits the highs, and the rock bottoms, and all the damnable stuff in between.
  4. Last Days in the Desert
    The mystical and the mundane come together with captivating force in Last Days in the Desert, Rodrigo Garcia’s thoughtful, intriguingly layered interpretation of the Gospel stories of Jesus’s confrontation with the devil while fasting and praying in the Judean desert.
  5. Creed
    The themes of love, loyalty, ambition, honor and legacy that lend sinew to the story are delivered with such a clean punch that they as feel as fresh as they did in 1976.
  6. Love & Friendship
    Love & Friendship is such a thoroughgoing delight that it’s tempting to riffle through Austen’s other works to find something else for Stillman to make into a film. As adaptations go, this is a match made in heaven.
  7. Gett: The Trial of Viviane Amsalem
    Despite the seemingly uncinematic nature of this inert, even claustrophobic scenario, the film mesmerizes, utterly.
  8. Rebels of the Neon God
    Rebels of the Neon God rarely cracks a smile, but it’s as droll as it is disaffected.
  9. Iris
    Iris serves as a spirited, often dazzling primer in how to fight the dying of the light and feel fabulous while doing it.
  10. Tangerines
    Georgian writer-director Zaza Urushadze avoids histrionics or moralizing, relying on a strong cast that expresses the film’s central argument about war’s absurdity largely through taciturn action, not words.
  11. Experimenter
    Experimenter’s most striking quality is the way it encourages us to think deeply, from the first frame to the last, even if it’s just to consider what on Earth an elephant is doing on screen.
  12. Dior and I
    The movie, not to mention the company, deserves praise for showing the challenges as well as the triumphs; Dior and I doesn’t shy away from conflicts when they arise. This isn’t marketing material. It’s a real look at a fascinating line of work.
  13. Black Souls
    Black Souls has a deep and startling soulfulness that, despite its shocking conclusion, is profoundly moving.
  14. He Named Me Malala
    If there’s a quibble with the film, it’s that it glosses over what it’s like to grow up in the glare of worldwide celebrity.
  15. Louder Than Bombs
    Along with his regular co-writer Eskil Vogt, Trier has crafted a profoundly beautiful and strange meditation on secrets, lies, dreams, memories and misunderstanding.
  16. My Golden Days
    The movie masterfully crystallizes the unruly, episodic nature of memories, re-creating the way certain small things stay with us while other, much larger events recede into a haze of cigarette smoke.
  17. The Assassin
    This mesmerizingly beautiful drama ponders themes of duty, patience, isolation and compassion.
  18. My King
    My King brims with intimate details, adding to a sense of authenticity that is rarely found in films.
  19. Dheepan
    There’s no doubt that Audiard has invested a story of grief, dispossession and desire with immediate, almost tactile, urgency. Like the best fiction, it takes the most incomprehensible stories of our time and makes them hauntingly, inescapably clear.
  20. Embrace of the Serpent
    Embrace of the Serpent has some of the most vivid images captured on film in recent memory, and also some of the most haunting.
  21. Do I Sound Gay?
    Thorpe doesn’t flinch from whatever awkward or controversial findings his subjects offer up, especially when they concern himself. The filmmaker’s curiosity as a reporter is tempered by an unapologetically subjective perspective.
  22. Chi-Raq
    The through-line of Chi-Raq is a sense of crisis that Lee refuses to reduce to binary causes, but interprets in terms of history, economics and psychology, as well as the personal, political and spiritual.
  23. The Second Mother
    The Second Mother feels lovingly handcrafted. All the elements of the story fit impeccably together for a humorous and occasionally wrenching examination of relationships.
  24. Barcelona
    Unlike “Metropolitan,” which for all its brittle wit seemed clunky and stagebound, Barcelona is sharply paced and alive on the screen.
  25. A Bigger Splash
    A Bigger Splash manages to infuse even the most straightforward questions with vicariously alluring ambiguity.
  26. Kilo Two Bravo
    Few war films are entertaining in a traditional sense. This one is so relentless that recoiling from it is nearly impossible.
  27. A War
    That A War both delivers the results one might wish for and denies a sense of closure is not a failing but its chief virtue.
  28. Boy and the World
    The make-believe world of Boy and the World is confusing, scary and gorgeous. But then again, so is the real one.
  29. Dark Horse
    Dark Horse is earnest, sweet and told with sentimentality, featuring shots of horses frolicking in fields set against beautiful string music by Anne Nikitin. Surprisingly, the effect isn’t melodramatic or overbearing, but disarming and endearing.
  30. Only Yesterday (1991)
    Small moments take on larger meaning in this exquisite memoir. That’s as true of the plot — in which nothing terribly significant happens, except life — as it is of the visuals.
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