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. Flipside
    As overcrowded as it all sounds, “Flipside” never falls off the cliff into confusion or incoherence, thanks mainly to Wilcha’s superb grasp of his theme.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    The Bikeriders
    All that’s missing, really, is a story. “The Bikeriders” is almost good enough to convince us we don’t need one.
    • 77 Metascore
    • 100 Reviewed by
      Ty Burr
    Thelma
    Thelma is about the indomitable human urge to keep going and the hard-won wisdom to know when to heed time’s warnings. It’s a movie that rages against the dying of the light — at 30 mph.
  4. Firebrand
    A kind of satisfaction ultimately arrives, but it is not one for purists, or even lovers of speculative history. It feels tacked on: too little, too late, too ludicrous — the past rewritten as a form of wishful thinking.
    • 69 Metascore
    • 50 Reviewed by
      Ty Burr
    Tuesday
    At its intermittent best, “Tuesday” pulls a rough and breathtaking beauty from the cataclysm. At its worst, it’s for the birds.
    • 68 Metascore
    • 63 Reviewed by
      Ty Burr
    Brats
    The movie, airing on Hulu, is a strange but worthy watch: cringey here, unexpectedly revelatory there, sincere and blinkered and articulate and dumb.
  7. Inside Out 2
    Design-wise, the “Inside Out” characters are Pixar’s crudest work, with the blocky colors and stiff hair of a creature in a TV commercial for insecticide. Blown up to the big screen, they just look worse. Narratively, however, the film’s portrait of Joy is beautifully complex.
    • 46 Metascore
    • 37 Reviewed by
      Ty Burr
    The Watchers
    Shyamalan the elder makes suspense-horror dramas that either give a half-baked idea a fully baked cinematic treatment or vice versa; Shyamalan the daughter’s first feature-length film is just half-baked all around.
  9. Bad Boys: Ride or Die
    The camera is more athletic than anyone on-screen, muscling between bullets and smashing through walls. Heyvaert shoots action so well that you forgive how little physical action there actually is.
  10. Backspot
    The film is heavy on the dread, light on the narrative. It’s all about the tension in the gym where the adults are just as melodramatic as the girls.
  11. In a Violent Nature
    It’s frustrating and distracting when flat direction, inconsistent effects and wooden acting break the spell, making it more and more of a slog to stay interested as Johnny slices and dices his way through the film’s 94-minute run time.
  12. Summer Camp
    The story is as predictable as a campfire song. Each of the friends has one core problem to fix, but the film is really about the meandering path to enlightenment, which takes frequent detours for food fights, pillow fights and pottery classes with a lot of awkwardly erotic squelching.
    • 62 Metascore
    • 63 Critic Score
    Young Woman and the Sea
    It’s rote, sure, but undeniably rousing.
  14. The Keeper
    The Keeper will win no filmmaking prizes. But it doesn’t mean, or need, to. Like an infomercial, its aim is more simple, direct and unapologetic: to call attention to an epidemic hiding in plain sight. By that measure: mission accomplished.
  15. The Garfield Movie
    Made for an audience mostly too young to have held the funny pages of a newspaper, it’s a madcap heist flick that feels like someone grabbed a random screenplay and scrawled “Garfield” at the top.
    • 82 Metascore
    • 100 Reviewed by
      Ty Burr
    Hit Man
    A blast of pure pleasure and one of the year’s best films, “Hit Man” should be seen with a crowd grooving on its devilish comic energy, its off-the-charts sexual chemistry and the star-making turn at its center.
  17. Furiosa: A Mad Max Saga
    More than its predecessors dating back to 1979’s lean, brutal “Mad Max,” “Furiosa” highlights the silliness and savagery of toxic men playing “Lord of the Flies” in the rubble of humanity.
  18. I Saw the TV Glow
    Even at its most despairing, the film never gives up a sense of hope.
  19. 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.
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    Back to Black
    The new movie, in fact, has been made with the approval of the Winehouse family; coincidentally or not, “Back to Black” has the feeling of a whitewash.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    IF
    Because there’s little internal logic in IF, you may find yourself constantly asking why the characters are doing what they do, or how the whole imaginary-friend thing works within the context of the movie.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Evil Does Not Exist
    Visually, sonically and thematically, “Evil Does Not Exist” is a rich and subtle experience.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Kingdom of the Planet of the Apes
    Kingdom of the Planet of the Apes is a sturdy new entry in the revived Planet of the Apes franchise, itself one of the more successful second go-rounds, commercially and artistically, of Hollywood’s modern corporate era. Yet the movie, like its three predecessors, is a fascinating case of content following form.
    • tbd Metascore
    • 100 Reviewed by
      Ty Burr
    The Sixth
    Civics lessons rarely come this disturbing or this convincing.
  25. The Old Oak
    If “Oak” brushes up against the fuzzy calculus of melodrama, Mari and Turner always wrestle it back to earth.
    • 42 Metascore
    • 63 Reviewed by
      Ty Burr
    Unfrosted
    Unfrosted may be the Platonic ideal of the Netflix movie: ephemeral, edible, enjoyable, forgettable.
  27. The Idea of You
    The cast does its best with the material, especially supporting player Perry Mattfeld, who makes a meal out of her small role as the mistress who broke up Solène and David’s marriage.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    The Fall Guy
    It’s an unexpectedly charming diversion — a studio film turned inside out, with the stars sent out to pasture and the worker bees front and center.
  29. We Grown Now
    It’s a simple, gentle tale that’s told beautifully but feels hollow — like a eulogy for an acquaintance.
    • 47 Metascore
    • 50 Reviewed by
      Ty Burr
    Boy Kills World
    Boy Kills World, a cheeky and extremely bloody action extravaganza, keeps an audience so off-balance for so long that you may throw in the towel well before the final bad guy falls.
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