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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    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    A Big Bold Beautiful Journey
    Kogonada gives us a bighearted sentimental “Journey,” and there will be audiences who will be there for it. But I hope for his next movie, he remembers he’s better at smaller favors.
  2. The Long Walk
    That existential paradox — are we all in this thing called life together, or is it every man for himself? — gives the film and its protagonists something meaty to chew on as it, and they, progress. But “The Long Walk” doesn’t dig into it in any deeply satisfying way.
  3. The Baltimorons
    The story manages to put a smile on your face from time to time, despite the gloom of its humor. It avoids happily-ever-after almost as strenuously as it works to remind us: You’re not in Hollywood, hon, but Hampden.
    • 66 Metascore
    • 50 Reviewed by
      Ty Burr
    Downton Abbey: The Grand Finale
    If you have ever loved the Downton Abbey franchise, you will most likely enjoy this one while finding it pretty weak Darjeeling.
    • 57 Metascore
    • 50 Reviewed by
      Ty Burr
    Spinal Tap II: The End Continues
    I regret to report that Spinal Tap has become Dad Rock.
    • 78 Metascore
    • 88 Reviewed by
      Ty Burr
    Lurker
    Writer-director Russell, a producer and co-writer of TV’s “The Bear” and “Beef,” knows his Hollywood existentialism — the dread that you’re not anybody unless you know a Somebody, the easy California vibe that hides gnawing insecurity, the understanding that a friend today can and certainly would cut your throat tomorrow.
    • tbd Metascore
    • 50 Reviewed by
      Ty Burr
    Tinā
    Directed and co-written by the Samoan filmmaker Miki Magasiva, the movie features a unique central character, a powerhouse star performance and some truly uplifting choral singing. Those are the good parts. The less good part is a script that pummels audiences with melodrama, manipulation and sentimental clichés until we all cry uncle.
    • 73 Metascore
    • 75 Critic Score
    Splitsville
    The grand subject of “Splitsville” is the virtues and pitfalls of unconventional relationship structures, and it’s never more inspired than when it’s finding surreal ways to convey the insecurities such arrangements may awaken.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Twinless
    James Sweeney seems intent on leading us all merrily to hell.
    • 65 Metascore
    • 63 Reviewed by
      Ty Burr
    Caught Stealing
    Sympathetic and a little colorless, Butler makes an effective maypole for everyone else to spin around.
    • 86 Metascore
    • 100 Reviewed by
      Ty Burr
    A Little Prayer
    All of “A Little Prayer” is alive in its modest way to the beauty and the disappointment of human existence. MacLachlan has given us Ozu in the heartland, and I can think of no greater praise than that.
    • 58 Metascore
    • 63 Reviewed by
      Ty Burr
    The Roses
    Too raw to be entertaining, too entertaining to be dismissed, it’s one of the weirder mainstream releases to come along in some time.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    Relay
    Until it goes kerblooey in the last 15 minutes, “Relay” is the very model of a modern genre thriller: Taut, tight, squeezing the maximum of suspense and character detail from the minimum of gestures.
    • 46 Metascore
    • 63 Reviewed by
      Ty Burr
    Honey Don't!
    The film is spiked with moments of gleeful violence, but Coen and Cooke understand that the primal reason we go to the movies is to look at beautiful people in nice clothes, and on that score ‘Honey Don’t!” is a rousing success. On every other score, it’s a short, shambling, surprisingly horny mess — amusing if you’re in an indulgent mood, obnoxious if you’re not.
    • 68 Metascore
    • 63 Critic Score
    Ne Zha 2
    I’ll just say it: I was confounded from the opening moments, and only sporadically did I ever find my footing.
    • 83 Metascore
    • 75 Reviewed by
      Ty Burr
    Souleymane's Story
    Souleymane’s Story presents its hero’s life as an open-air prison. Scrupulously researched by Lojkine and co-writer Delphine Agut, it’s brutally frank about the predatory practices of some of Souleymane’s fellow West Africans.
  17. East of Wall
    Beecroft’s screenplay — which the actor turned filmmaker wrote after moving in with Tabatha and Porshia, off and on, for three years — is not as strong as her visual storytelling. Some of her dialogue trips over its own bootlaces.
    • 74 Metascore
    • 75 Reviewed by
      Ty Burr
    Highest 2 Lowest
    Lee has kept the bones of McBain’s and Kurosawa’s versions, but he’s made his own movie, occasionally for worse but mostly for better.
    • 59 Metascore
    • 63 Critic Score
    Nobody 2
    Making memories it ain’t. But making 89 minutes of your life disappear almost painlessly has its place, too.
    • 61 Metascore
    • 37 Reviewed by
      Ty Burr
    Americana
    Tost can’t match the oddball inspiration of his influences, and the results simply feel forced.
  21. 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.
    • 81 Metascore
    • 88 Reviewed by
      Ty Burr
    Weapons
    Weapons slowly and fiendishly turns up the heat under its narrative suspense, lulling moviegoers into complacency until they realize they are well and truly cooked.
    • 60 Metascore
    • 63 Reviewed by
      Ty Burr
    Freakier Friday
    Freakier Friday is an inoffensive product with good intentions and a cardboard heart, but, these days, watching Curtis strut her stuff is an out-of-body experience all on its own.
    • 73 Metascore
    • 75 Reviewed by
      Ty Burr
    Folktales
    The great satisfaction of this documentary is seeing the troubled children of the early scenes emerge with a maturity and equanimity that comes from pushing oneself past the furthest you thought you could go.
  25. Architecton
    Architects who are already working to make architecture more sustainable and humane will roll their eyes at the last few minutes of commentary. But they won’t regret having seen “Architecton,” which is a raw, beautiful and demanding essay on the fate of our collective home.
  26. The Bad Guys 2
    It’s a larky bunch of malarkey, laced with just enough moral complexity — washed down with car chases and capers — to set your own tush a-twitching.
    • 75 Metascore
    • 63 Reviewed by
      Ty Burr
    The Naked Gun
    The early scenes are so shamelessly, stupidly funny, with a hit-to-miss gag ratio of about 75 percent, that you can’t help be disappointed as that ratio steadily sinks over the course of the movie.
    • 75 Metascore
    • 88 Reviewed by
      Ty Burr
    Together
    That the two stars are married in real life is part of the movie’s genius and certainly key to why “Together” is as outrageously funny as it is scary.
    • 52 Metascore
    • 50 Critic Score
    Happy Gilmore 2
    Rather than aim for the flagstick, “Happy Gilmore 2” seems all too content to lay up in search of one gimme putt after another.
    • 53 Metascore
    • 63 Reviewed by
      Ty Burr
    Bad Shabbos
    In all, it’s a movie to please undemanding fans of Woody Allen movies (the “old, funny ones”), “Only Murders in the Building” die-hards and your nana, and there’s nothing wrong with that.
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