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 Saddest Music in the World
    You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced.
  2. Thief
    It's the most exaggerated example yet of the abiding imbalance in modernist filmmaking, where an abundance of texture fails to conceal a minimum of substance, although it frequently makes the act of concealment pictorially exciting. [27 Mar 1981, p.C1]
    • Washington Post
  3. Barbarian
    Writer-director Zach Cregger’s script takes these various paint-by-number horror elements — a vulnerable debutante, an unfamiliar house, a hidden room — and colors outside the lines.
  4. Tracks
    For all its simplicity, Tracks the movie is a poignant, deeply emotional story.
  5. The Princess of Montpensier
    At times, "Princess" resembles a widescreen Hollywood western, with exhilarating Steadicam shots of horsemen galloping across broad plains and corpse-strewn fields.
  6. The Buddy Holly Story
    Steve Rash directs the firm in a clean, observant and confidently transparent style - making an impressive debut after several years of TV pop-music specials - and demonstrates a flair for expressing Holly's appeal. [18 Aug 1978, p.B1]
    • Washington Post
  7. Magnolia
    As intoxicating as the flower it's named for, and its characters, most of them as flawed and fascinating as the film itself, seem intoxicated by the overpowering scent.
  8. If I Had Legs I'd Kick You
    It’s a bold, claustrophobic movie that wouldn’t work without Byrne.
  9. Frankenstein
    Ultimately, as is made overwhelmingly clear, this is a film about forgiveness. So allow us to extend the same grace to some clunky writing.
  10. Sorry to Bother You
    This is a movie of myriad worthy, even urgently necessary, ideas; when it reaches its climax, it goes completely haywire in a preposterous, increasingly scattershot sci-fi pastiche.
  11. The Case Against 8
    A sprawling yet engrossing documentary.
  12. Midnight Run
    Too routinely formulaic to be anything more than modestly diverting. But as modest diversions go it cruises along at a reasonably brisk pace and, in the smaller details -- the off-in-the-margins doodling -- it has its rewards. [20 July 1988]
  13. The Devil Came on Horseback
    Incisive and possibly a bit melodramatic as it lays out the reasons and the results of the violent campaign and marshals indignation on behalf of the victims while crying out for Western engagement.
  14. The Human Factor
    As the title of the film suggests, it tells a story involving as much human drama as geopolitical maneuvering. It’s a story of personalities and, at times, the fragile male ego.
  15. 1917
    1917 is impressive but oddly distancing; ultimately stirring but too often gimmicky.
  16. A Simple Life
    The movie is often poignant but leavened with humor.
    • 78 Metascore
    • 50 Critic Score
    Kedi
    Though pleasant to watch, Torun’s feature debut feels more like a meandering montage than a structured narrative, and it could easily be half as long.
  18. Waste Land
    Spend some time there, thanks to the documentary Waste Land, and you start to get the sense that, amid the trash, something really is blooming.
  19. Goldstone
    It is not a story of justice, but of a kind of standoff between good and evil. Initially, there seems precious little of the former.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Substance
    With wit, style and ruthlessness, Fargeat has made a movie that’s an example of the soulless pop-culture object she’s spoofing.
  21. Murderous Maids
    Troubling and powerful film, lingering on screen well into the final credits and in the minds of its audience long after the house lights have come on.
  22. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    Extraordinary documentary.
  23. Last Orders
    The movie's pace is unhurried by Hollywood standards, but it's all the richer in character detail.
  24. Afghan Star
    Afghan Star goes much deeper, eloquently conveying the tensions, small victories and shattering setbacks of a fragile democracy struggling to regain a once-flourishing culture.
  25. Logan Lucky
    As lighthearted, late-summer escapism goes, Logan Lucky is an amusing if convoluted and undisciplined bagatelle. As a hotly anticipated comeback, it feels like a slightly dippy, ultimately disposable warm-up of a director whose brains, chops and judicious taste we need more than ever.
  26. James and the Giant Peach
    Imaginative, slightly creepy, but tremendously appealing to all ages. It's ripe to bursting with visual effects a heady combination of stop-motion and computer-generated imagery. And it has a delightful cast of personable bugs and larvae, all bound for New York City via floating fruit.
  27. The Starling Girl
    As a portrait of a young woman testing the limits of the shame-based system that has controlled her, The Starling Girl plays like a warmer, more radiant companion piece to last year’s “Women Talking."
  28. High Life
    Even ardent Pattinson fandom won’t be enough to convert mainstream American audiences to the art-house director’s dark outlook and elliptical style.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    Nosferatu
    “Nosferatu” haunts as you watch it and vanishes when the lights come up, leaving a viewer shaken but not stirred. Still: Fangs for the memories.
    • 78 Metascore
    • 50 Critic Score
    Missing
    This is a movie with an admittedly leftist slant. Some of the scenes are gruesome and powerful. But its politics are distracting, making the film less an artistic undertaking and more a political statement. [12 Feb 1982, p.11]
    • Washington Post
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