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. The Brand New Testament
    For sheer inventiveness of story, language, visuals and theme, The Brand New Testament is, quite nearly, a divine comedy.
  2. Sully
    Sully is a classy, enormously satisfying ode to simple competence. To paraphrase the title character, it’s just a movie doing its job. And amen to that.
  3. Little Men
    With a firm grasp on the duality implicit in its title, Little Men is a story that’s neither tragic nor triumphal in the way it resolves itself, but rather one that’s sadly, even satisfyingly true.
  4. American Honey
    Arnold also brings to bear a euphoric appreciation for the spirit of freedom and the optimism — if not the innocence — of her subjects, who can seem at once world-weary and hopelessly naive. Call it a form of ecstatic naturalism, one that revels in the ugly paradoxes of life.
  5. Weiner
    Hubris, narcissism, tabloid spectacle and massive self-deception collide with the mesmerizing inevitability of a slow-motion train wreck in Weiner, an engrossing, almost shamefully entertaining documentary.
  6. One False Move
    As the movie progresses, it deepens emotionally and becomes less of a detective thriller and more of a character study, and it's to Franklin's credit that he never allows his hard-boiled style to soften. Thematically, the movie doesn't make a strong statement, but it is strikingly expressive in its details.
  7. House Party
    House Party isn't a great movie, but it's heartfelt and enormously winning. In its own modest, ramshackle way, it manages to seem innocent even when it's profane. And maybe a party that demonstrates that those two qualities aren't necessarily opposed is exactly the kind we need.
  8. New Jack City
    The "Godfather" films transcended their mobster genre; New Jack City doesn't, but it's a great genre film, edgy, vibrant and full of urgent color.
  9. A Quiet Passion
    Davies is a master of the slow build, lyrically evoking the dreaminess and gravity of his subject and her verse.
  10. Lights Out
    For a movie that relies so heavily on a single, not especially groundbreaking visual effect — now you see the bogeyman, now you don’t — Lights Out is crazy scary.
  11. The Salesman
    If the conceit feels obvious and strained, it still gives Farhadi and his actors ample room to explore the ambiguities of commitment, ethics and revenge in a society where mistrust in public servants runs deep.
  12. Toni Erdmann
    Toni Erdmann, it turns out, is Hüller’s movie all the way, with her character not just matching wits with the bumptious, often irritating father, but ultimately coming into her own with the genuine feeling he seems determined to deflect.
  13. Hell or High Water
    In a word, Hell or High Water is terrific.
  14. Raw
    Few films are both genuinely erotic and off-putting enough to inspire the occasional walkout. Raw succeeds at both.
    • 67 Metascore
    • 88 Critic Score
    Les Cowboys
    Bidegain and cinematographer Arnaud Potier speak multitudes with wide-angle, slow-panning shots that immerse us in a post-9/11 quagmire that’s never less than utterly personal.
    • 73 Metascore
    • 88 Reviewed by
      Ty Burr
    Wicked
    The production numbers in “Wicked” are garish and cluttered, but they have snap and a pleasing sense of unified mass movement; their effect on the eyeballs is somewhere between an assault and a massage.
  17. The Eagle Huntress
    For every misgiving The Eagle Huntress invites, it offers inspiration in equal measure, taking the audience on a beautiful, thrilling journey to a part of the world that is still largely inaccessible. And it introduces them to a young woman who gives bravery a bracing, unforgettable face.
  18. Ferdinand
    The film incorporates the book’s story arc, with stylistic nods to Robert Lawson’s drawings of Spanish scenes and people. But it also adds new incidents, characters and depth, with a contemporary wit that doesn’t coarsen the story — or not much, anyway.
  19. Maudie
    Hawke is good at playing bad, but Hawkins is better, rendering, in Maudie, a portrait of a woman that feels raw, real and revelatory.
  20. The Age of Shadows
    The movie’s visual panache and fog-of-war ambiguity are as universal as the desire to detonate TNT under your enemy’s headquarters.
  21. Frantz
    Frantz contains revelations unrelated to the manner in which it protects, and then peels away, its central mystery. Ultimately, it addresses the question: Why go on living when life itself betrays us?
  22. Best Worst Thing That Ever Could Have Happened
    Simultaneously warm and clear-eyed, “Best Worst Thing” is an unblinking look at how the sausage of theater gets made, as well as an emotional memoir.
  23. Get Out
    Like all great movies, Get Out faithfully obeys the conventions of its genre — in this case horror films shot through with brutal wit and sharp-eyed allegory — while getting at profound psychic and political realities. The shocks and the laughs are thoroughly entertaining, but it’s the truth of Get Out that’s so real.
  24. Paddington 2
    A charmer from its first action-packed frames to its over-the-top jailhouse-musical scene during the end credits.
  25. A Star Is Born
    A well-seasoned, handsomely cured slab of showbiz schmaltz that hits all the right pleasure centers. With equal parts glitz and grit, Cooper has successfully navigated the most perilous shoals of making a classic narrative his own, managing to create one of its best iterations to date.
  26. Manifesto
    It’s a treat to watch an actress at the top of her game, flexing her interpretive muscles in a showcase that is inventive and thought-provoking.
  27. Only the Brave
    The acting ensemble has a believable, brotherly chemistry, especially Teller and Taylor Kitsch, playing a troublemaker who initially teases Brendan brutally before the two warm up to each other, forming an adorable bond.
  28. Marjorie Prime
    As a sly chamber piece, it re­assures and unsettles in equal, exquisitely calibrated measure.
  29. Menashe
    By focusing on the details of his characters’ lives, Weinstein finds common ground on both sides of the religious divide.
  30. Mr. Gaga
    Gaga looks like fun, but the soul-revealing “Mr. Gaga” makes clear the sacrifice Naharin’s dedication has exacted from family and dancers alike.
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