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 Monk and the Gun
    Though it takes place in the recent past, at a time when the Bhutanese people were still getting used to such American imports as James Bond movies and “black water” (Coca-Cola), the film has something important to say about the promise and the perils of the present.
    • 80 Metascore
    • 88 Critic Score
    Strange Darling
    Although “Strange Darling” dutifully delivers white-knuckle tension and cinematic panache, Mollner’s savvy script also speaks to the unbalanced power dynamic a woman typically accepts when inviting the advances of an unfamiliar man.
    • 91 Metascore
    • 88 Reviewed by
      Ty Burr
    Anora
    The movie is superficially a comedy — and ultimately a love story, just not the one we think — but there’s a great deal of striving and sadness beneath its layers of glitter and soot and, beyond that, the exhaustion that comes from slowly admitting to yourself that the doors of the kingdom will almost certainly never open for you.
    • 77 Metascore
    • 88 Critic Score
    Love Lies Bleeding
    Despite the radio reporting the fall of the Berlin Wall and some very “Just Say No”-era drug busts, this is a mythic 1980s and a mythic USA, peopled by venal desperados pulled from the mildewed pages of a 1950s Jim Thompson novel.
  5. I Saw the TV Glow
    Even at its most despairing, the film never gives up a sense of hope.
    • 67 Metascore
    • 88 Reviewed by
      Ty Burr
    The Legend of Ochi
    If you’re up for a film that tells its own tale, rather than the one it thinks you want to hear, this one has a touch of madness to it, and it seems fashioned from love and old parts for people who genuinely don’t want to know what’s going to happen next.
    • 72 Metascore
    • 88 Reviewed by
      Ty Burr
    Queer
    A book that got under the young Guadagnino’s skin, about the ache to merge with a forbidden lover’s body and soul, has become a film that uses the play of light on a screen to hint at the light we carry inside ourselves and that only the queer know we share.
    • 66 Metascore
    • 88 Reviewed by
      Ty Burr
    Sasquatch Sunset
    Sasquatch Sunset is a goofball curio touched with genuine sadness. It’s “The Cherry Orchard” of cryptozoology.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Presence
    Best of all, “Presence” is short and sure of itself, a tidy 84 minutes that explore a fraying family dynamic as observed by the household poltergeist.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Between the Temples
    It’s a tricky balancing act to find humor in stereotypes while seeing the human beings behind them — affection and a few years of distance can help — but “Between the Temples” walks the tightrope with wobbly yet confident grace.
  11. Daughters
    There’s lots of hurt, past and present, in “Daughters,” as well as a huge measure of healing and forgiveness. Those feelings are palpable and contagious; they jump off the screen.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    Good One
    Good One takes advantage of the summer lushness of the Catskills, Wilson Cameron’s nature-centric cinematography and Celia Hollander’s ruminative acoustic score to cast a spell over its 89 sure-footed minutes.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    Porcelain War
    Porcelain War is a testament to how life’s beauty — all the world’s fertility an artist is trained to see — endures among privation and death.
    • 76 Metascore
    • 88 Reviewed by
      Ty Burr
    Kneecap
    In “Kneecap,” a frenetic, funny, searingly angry film from Northern Ireland, language — Irish Gaelic — serves as an active force of rebellion channeled through the beats and braggadocio of African American rap. Very little gets lost in the translation.
  15. Longlegs
    Set during the drab 1990s of Clinton-era America, the latest offering from writer-director Osgood “Oz” Perkins throbs with a bone-chilling sense of dread, a marvelous piece of supernatural horror wearing the skin of a serial killer thriller that weaves a lasting, sinister spell.
  16. Babes
    Glazer and Rabinowitz’s script can be patchy and manic, but it does its best work showing the contortions women undergo to prove their support, especially in today’s “yaaaas queen” era where everyone is a goddess.
  17. Speak No Evil
    Speak No Evil is the rowdiest horror flick in ages, a hilarious and venomous little nasty that cattle-prods the audience to scream everything its lead characters choke down.
  18. Bridget Jones: Mad About the Boy
    It’s an affectionate finale for the character, crafted with such care — from Molly Emma Rowe’s costumes to Kave Quinn’s thoughtful production design to those signature needle drops, monologues and Bridget-isms — it’s a shame “Mad About the Boy” isn’t opening in U.S. theaters.
    • 93 Metascore
    • 88 Reviewed by
      Ty Burr
    All We Imagine as Light
    Making her fictional feature debut as a writer-director, Kapadia unveils a storytelling style that whispers rather than shouts and whose empathy for the unseen women among us is a balm to the soul.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    On Becoming a Guinea Fowl
    On Becoming a Guinea Fowl draws a portrait of a culture with one foot in a 21st century of iPhones and laptops and the other in a crushing patriarchal hierarchy that goes back millennia and that proves nearly impossible to upend.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    The Seed of the Sacred Fig
    At times heavy-handed in its symbolism, “Seed” is still a gripping, provocative knockout — a domestic political thriller — that hints at the limits of oppression and the long, long bending of Martin Luther King Jr.’s “moral arc.”
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Misericordia
    Even if such murky doings aren’t your cup of absinthe, the skill with which Guiraudie weaves his web is mesmerizing.
    • 72 Metascore
    • 88 Critic Score
    Bugonia
    It’s a viciously smart and disturbingly funny abduction tale, primarily confined to a grubby basement but with a purview that extends from the inner sanctums of the memory to the outer reaches of the galaxy.
    • 89 Metascore
    • 88 Critic Score
    Marty Supreme
    None of this would work were it not for the swaggering, high-wire performance of Chalamet.
  25. Memoir of a Snail
    Memoir of a Snail, by the Oscar-winning Australian animator Adam Elliot, is a grubby delight, a stop-motion charmer that feels like falling into a dumpster and discovering an orchid.
    • 84 Metascore
    • 88 Critic Score
    Hamnet
    As a meditative study on what’s often left outside the frame, the film is a literal revelation. It’s also a beautifully crafted punch to the gut.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Road Diary: Bruce Springsteen and the E Street Band
    It’s hard to be a saint in the city, but “Road Diary” reminds us why it’s worth it.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    40 Acres
    This is a movie to see and a director to watch.
    • 79 Metascore
    • 88 Reviewed by
      Ty Burr
    One to One: John & Yoko
    It takes nerve to make a documentary about the most unpopular period of a massively popular public figure’s life. “One to One: John & Yoko” demonstrates that it’s worth the effort.
  30. Cloud
    A sneaky tale of savagery in the dehumanizing digital age, writer-director Kiyoshi Kurosawa’s “Cloud” is as bleak a warning as you’ll find in theaters this year, cautioning against the corrosive combination of late capitalism, the internet and human nature.
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