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. Dear White People
    It’s true that satire is the perfect weapon of reason, and Justin Simien deploys it with resourcefulness, cool assurance and eagle-eyed aim.
  2. Ahed's Knee
    It’s all entertaining enough, in a shaggy way. But if the director can’t stay focused on his own subject, how are we expected to do so?
  3. Nosferatu the Vampyre
    Herzog has nothing of lasting value to offer the vampire tradition. His Nosferatu is at best unintentional, fitfully risible camp.
  4. Broken Flowers
    Jarmusch manages to imbue banality with surprising beauty and humor.
  5. Loving
    Intimate, moving and superbly underplayed, Loving is every bit as soft-spoken and subtly implacable as its protagonists. It lives up to its title as a noun and a verb, with elegant, undeniable simplicity.
  6. Silence
    The morale of [Scorsese's] story is ultimately both tough and nuanced.
  7. I've Loved You So Long
    Their characters' desire (Scott Thomas and Zylberstein) -- no, need -- to repair their fragile bond feels as achingly real as the mother lode of hidden pain that gets exposed by the work of these two great actresses.
  8. Hitchcock/Truffaut
    Hitchcock/Truffaut would be a stronger film had it spent more time with its title figures and less with the contemporary directors.
  9. The Order of Myths
    Gracefully explores Mobile's Mardi Gras celebrations and profiles the young people playing at royalty at these ceremonies' hearts.
  10. Flags of Our Fathers
    Stands with the best movies of this young century and the old one that preceded it: It's passionate, honest, unflinching, gripping, and it pays respects. The flag raising on Iwo might have indeed become a pseudo-event as it was processed for goals, but there was nothing pseudo about the courage of the men who did it.
  11. Reprise
    Reprise says many cogent things about success, what it does to people and how they define it. But it also indicts the mechanics of the culture in a way that is neither Danish nor American but globalized and all the more poignant for it.
  12. Bright Leaves
    We are hooked into a low-tech but compelling dynamic -- between relatively static images and McElwee's sensitive, connective narrative.
  13. The Winslow Boy
    The case is tried off-screen. Thank goodness for the maid (Sarah Flind), who runs home from her chores with tidings from the outside world -- we hear from the maid that Sir Bobby gave a helluva final argument. The jurors wept, the crowd went wild. Too bad we missed it.
  14. What Time Is It Over There?
    The story that emerges has elements of romance, tragedy and even silent-movie comedy.
  15. Guillermo Del Toro’s Pinocchio
    True to form for the horror-loving filmmaker behind Oscar winners “Pan’s Labyrinth” and “The Shape of Water,” this is a dark affair, despite the occasional song. And yes, it’s a musical.
  16. Before Sunrise
    Sunrise feels more like an absorbing experiment than a supple success.
  17. The Pigeon Tunnel
    The lack of tension between Morris and his subject diminishes the film’s energy.
  18. Look at Me
    Smart, absorbing movie.
  19. Dune: Part Two
    It’s all meticulously conceived and impressively staged, but becomes repetitive and monotonous, devolving for anyone not completely steeped in the “Dune” universe into a hazy orange-and-ocher soup of dust, smoke, flames and sand.
  20. Lone Star
    Why ... does it feel so lifeless?
    • Washington Post
  21. Drive
    Low-key, sleek and sophisticated, Drive provides the visceral pleasures of pulp without sacrificing art. It's cool and smart. Some critics might even call it European.
  22. The American Friend
    An absorbing but rarefied, introspective variation on traditional thriller motifs, it's probably not the synthesis between the personal and traditional that Wenders needs but it's a fascinating compulsively watchable experiment.
  23. The Fighter
    If you think "Rocky" and "Raging Bull" define the alpha and omega of boxing movies, think again. David O. Russell's The Fighter proves there's still punch in the genre, especially when a filmmaker tells a familiar story in a brand-new way.
  24. Beasts of No Nation
    Fukunaga imbues this study of ma­nipu­la­tion and manufactured loyalty with an unsettling degree of visual richness and lush natural detail.
  25. Wings of Desire
    An ingratiating West German "Heaven Can Wait." (Review of Original Release)
  26. Gandhi
    While literate and coherent in digest-of-history terms, the chronicle of Gandhi's remarkable career as a mass political organizer and spiritual inspiration distilled from the biographical record by Attenborough and screenwriter John Briley remains grievously doting and squeamishly evasive.
  27. Look Into My Eyes
    The film stirs the soul less by the magic of ghosts than by the power of human connection.
  28. Iron Monkey
    Showcases its cast's athleticism and Ping's kinetic high-wire artistry. But unlike similar Western-made fare, it doesn't take itself seriously.
    • 79 Metascore
    • 50 Critic Score
    An Angel at My Table
    For Americans, the measured accumulation of detail can be frustrating. It's like listening to a story about someone you barely know and being forced to prompt the teller, "And then? And then?"
  30. Quest for Fire
    Quest for Fire expresses an eloquent partiality for civilized virtues, especially companionship, sexual bonding and parenthood. [05 Mar 1982, p.B12]
    • Washington Post
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