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. Rustin
    The movie never exactly loses sight of Bayard Rustin, but neither does it ever let us get inside his heart.
  2. Radical
    Like Sergio’s unusual modus operandi, Radical takes some time to click, its first half as unstructured as Sergio’s classroom. But at about the halfway point, when the kids discover the excitement of learning, it becomes as thrilling as any blockbuster.
    • 33 Metascore
    • 12 Critic Score
    Five Nights at Freddy's
    Instead of prioritizing jump scares and game lore, as you might hope, the film leans into its gooey Hallmark center, focusing on underdeveloped relationships and predictable plot twists.
  4. Anatomy of a Fall
    If it sometimes feels a bit contrived, and if its conclusion will leave some viewers unsatisfied, Triet has made a film that succeeds brilliantly — on terms that are as exacting, rigorous and precise as her unflappable heroine.
  5. The Killer
    As it is, The Killer is less a diamond than a piece of good-looking but cheap quartz: all sparkling surface and not much value.
  6. The Mission
    Although the focus eventually returns to Chau’s disastrous undertaking, the asides gradually take over. The film expands into a debate on the ethics of missionary Christianity.
  7. The Persian Version
    The Persian Version is an ambitious effort to suture up the rift between past and present, parent and child. But like its heroine, it also suffers from a bit of split personality. It’s a tale with too much drama for the candy-colored comedy of its telling, and too much comedy for the drama to leave much of a mark.
  8. Nyad
    Despite its over-credulous willingness to go along on what through one lens amounts to a massive ego trip, Nyad manages to be a celebration of perseverance, self-belief and learning how to be loved.
  9. Dicks: The Musical
    There just isn’t a whole lot to say about this deliberately lowbrow, gleefully low-budget expansion of Aaron Jackson and Josh Sharp’s half-hour stage play, originally performed by the duo in 2015 under the auspices of the Upright Citizens Brigade improv and sketch comedy group.
  10. Killers of the Flower Moon
    There’s no doubt that Killers of the Flower Moon reflects a shift in energy that is defensible — even necessary — from an ethical point of view. Narratively, that pivot results in a film that, it must be said, feels leeched of the energy and vigor viewers associate with Scorsese at his most exhilarating.
  11. The Pigeon Tunnel
    The lack of tension between Morris and his subject diminishes the film’s energy.
  12. Taylor Swift: The Eras Tour
    After years of dabbling, lyrically and literally, Taylor Swift has come for American cinema, and we can only wait for her next move.
    • 55 Metascore
    • 40 Critic Score
    The Magic Flute
    The state of uncertainty persists for the entire film, as you wait in vain for the director to tie the pieces together.
  14. Radical Wolfe
    To judge from his film’s style, it also seems likely that Dewey just doesn’t have the patience for a subtle approach.
  15. Joan Baez I Am A Noise
    Throughout the film, it’s Baez who holds the audience spellbound, not just in live performances that remained transfixing from the late 1950s to the 2010s, but in her very being.
  16. Foe
    The ending of Foe is not the problem. It’s the beginning and the middle that feel phony: at once as calculated and as uncanny as ChatGPT.
  17. The Exorcist: Believer
    If The Exorcist: Believer is all about devotion to spiritual (or at least cinematic) faith, its failure to live up to the power of the first film, which made zealots of even the most cynical moviegoers, borders on sacrilege.
  18. She Came to Me
    She Came to Me exists in between things: airy romance and psychological depth; operatic fantasy and gritty reality; farce and fatalism. Writer-director Rebecca Miller executes that balancing act with lighthearted audacity in a film that aspires, with fitful success, to resurrect the lost art of screwball comedy — with some literal opera thrown in for musical measure.
  19. The Storms of Jeremy Thomas
    British documentarian Mark Cousins’s The Storms of Jeremy Thomas is a fine introduction to the 70 or so films produced by the titular London-born impresario. It’s barely an introduction at all, however, to Thomas himself.
  20. Flora and Son
    Propelled by a funny, charismatic turn by Hewson (who infused such unpredictable energy in the terrific Apple TV Plus series “Bad Sisters”), Flora and Son is a feel-good movie that largely earns its sentimental uplift, one sick burn and soaring musical number at a time.
  21. The Creator
    Overloaded with incidents, effects and explosions, “The Creator” fails to develop the personalities and relationships that would give its central characters an affecting humanity. The movie’s attempt to touch the heart comes off as, well, artificial.
  22. Expend4bles
    The movie is unsurprising and not especially ambitious, but it’s agile enough to vault over most of its flaws.
  23. Scrapper
    Regan directs Scrapper with exceptional verve, interrupting the narrative with witty documentarylike asides whose framing evokes the poppy aesthetic of Wes Anderson.
  24. Invisible Beauty
    By the end of Invisible Beauty, it’s obvious from all the accolades that [Hardison] made a difference in the lives of a new generation of Black models.
  25. Cassandro
    All this sporting entertainment turns out to be an unexpectedly mellow affair of the heart, with Bernal completely winning you over.
  26. Dumb Money
    As a feel-good fact-based fable of financial comeuppance, Dumb Money is funny enough. But as its name suggests, it isn’t especially smart. Unlike its protagonists, it isn’t interested in making a quick buck, just an easy laugh.
  27. Fremont
    Fremont has the demeanor of a kitchen-sink drama but is laced with deadpan absurdism.
  28. A Haunting in Venice
    A Haunting in Venice isn’t exactly a barrel of laughs. But that’s no doubt as intended by Branagh, who seems intent on rescuing Poirot from the reassuring, too-cute world of “cozy” mysteries and grounding him in the real-life loss and emotional dislocation of the postwar eras from which he sprang.
  29. My Big Fat Greek Wedding 3
    For all its faults, My Big Fat Greek Wedding 3 manages to just get by on pretty scenery and a meticulous inoffensiveness. What else is there to say but, “Opa!”
  30. The Nun II
    It’s all so confusing. But reason is an obstacle to appreciating The Nun II. What you need, like Irene and Debra, is faith — in this case, in the power of pure nonsense.
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