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. 2nd Chance
    For the most part, 2nd Chance is right on target. But in the end, its aim isn’t quite true.
  2. All the Beauty and the Bloodshed
    The documentary would benefit from a few other voices and a wider range of commentary on Goldin’s work, both photographic and societal. That’s not the movie Poitras and Goldin wanted to make, however. And the story they do tell is compelling and distinctive.
  3. Emancipation
    Directed by Antoine Fuqua with an occasionally puzzling combination of restraint and stylization, Emancipation turns a potent image into a pageant of spectacle and suffering.
  4. Violent Night
    Behind all the gore-splattered walls and domestic rancor lies a sweet-and-sour bedtime story of good triumphing over evil. That said, please leave the kids at home.
  5. The Corridors of Power
    The discussions that take place on camera, in tastefully appointed suites, are frank and often offer fascinating insights into these dilemmas. But it is the sharply jarring — and dismayingly repetitive — footage of carnage that will stay with you long after the echoes of the film’s subjects’ words have faded from your mind.
  6. The Inspection
    Two things distinguish writer-director Elegance Bratton’s lyrical debut feature from its predecessors: a clanking, droning, energizing score by experimental rock band Animal Collective and a central character — based on Bratton himself — who’s Black and gay.
  7. Strange World
    Maybe Strange World only seems to falter because it can’t handle the weight of its own expectations. Nah. It’s just not very good.
  8. Bones and All
    A pulpy grindhouse B-picture tricked out in art house pretensions, counting on the siren call of sex and violence to fleece the rubes. Choose your own adventure. And maybe bring a barf bag.
  9. Glass Onion: A Knives Out Mystery
    By turns silly and scathing, Glass Onion once again demonstrates Johnson’s gift for critiquing culture in the name of good fun — or, perhaps more precisely, having fun by critiquing culture.
  10. Devotion
    The movie’s climactic sequence is less expected, and a bit messier than the other episodes. It’s powerful because it effectively evokes the chaos and cost of war. Most of the rest of Devotion just apes clunky old war movies.
  11. Nanny
    The film, despite being mostly set in a huge, expensive apartment that inexplicably seems to be illuminated only by low-wattage lightbulbs, by and large resists the easy tropes of conventional horror. Instead, Jusu focuses, with an assured storytelling that slowly builds a mood of real-world dread, on more corporeal concerns.
  12. The Fabelmans
    The Fabelmans does it all, with an expansive spirit and that quintessential Spielbergian combination of honesty and sentiment. It tells the truth, at a honeyed, ameliorating slant.
  13. You Resemble Me
    You Resemble Me would be a vivid, beautifully acted reflection of dispossession and cultural dislocation if it stayed one thing. But, like its mercurial protagonist, it changes shape to become a deeply meaningful meditation on narrative itself, blending fact and fiction into a seamlessly poetic whole.
  14. The Menu
    "Eat the rich” might be a popular theme this movie season, but The Menu takes the idea to extremes that finally overpower the palate.
  15. She Said
    She Said takes a story we thought we knew and gives it new, utterly shattering life.
  16. All That Breathes
    The film follows two remarkable men in New Delhi: Mohammad Saud and his older brother Nadeem Shehzad, former bodybuilders who used their scientific curiosity, compassion and knowledge of human musculature to figure out how to care for sick and injured birds.
  17. Guillermo Del Toro’s Pinocchio
    True to form for the horror-loving filmmaker behind Oscar winners “Pan’s Labyrinth” and “The Shape of Water,” this is a dark affair, despite the occasional song. And yes, it’s a musical.
  18. Bardo, False Chronicle of a Handful of Truths
    Bardo seems to be Iñárritu’s deeply personal — if hermetic — attempt to make sense of the conflicting and unresolved impulses that have animated his life and art over the past two decades, during which he’s gone from promising emerging filmmaker to Oscar-winning superstar.
  19. Retrograde
    Retrograde is a handsome film, ironically, conveying a sense of the country that is at stake, and its people. And Heineman is smart to frame the story around a single individual, as he did in his fact-based drama about war correspondent Marie Colvin, “A Private War.”
  20. Black Panther: Wakanda Forever
    "Wakanda Forever” winds up feeling hopelessly stalled, covering up an inability to move on by resorting to repetitive, over-familiar action sequences, maudlin emotional beats and an uninvolving, occasionally incoherent story.
  21. Armageddon Time
    Armageddon Time is a pungent, disarmingly honest evocation of love and loyalty, striving and struggle, and how identity morphs from one generation to the next. In revisiting his own coming of age, Gray has managed to illuminate a much larger one that hasn’t stopped.
  22. Good Night Oppy
    NASA aficionados and connoisseurs of space exploration are the groups most likely to get a kick out of Good Night Oppy, a warmly charming, if far from essential, documentary that takes a look back at the robotic Martian rover Opportunity.
  23. The Banshees of Inisherin
    It’s possible to see why McDonagh’s fans love his quirks and clever structural feints (the war of wills in “Banshees” often plays out like variations on a theme), as well as his characters’ willingness not to be liked. But what they find at the end of the filmmaker’s rainbow is less likely to be a pot of philosophical gold than prosaic self-satisfaction.
  24. Aftersun
    It’s a series of small and seemingly meaningless incidents that, in Wells’s telling, loom large only from the vantage of hindsight.
    • 62 Metascore
    • 50 Critic Score
    Call Jane
    The result is a film that’s engaging enough, but choppily paced and oddly inert. Beyond an audacious opening shot and some period-appropriate needle drops — Nancy Sinatra, Malvina Reynolds and Vanity Fare among them — Call Jane is also decidedly unstylish.
  26. The Return of Tanya Tucker: Featuring Brandi Carlile
    Mostly The Return is about listening to great music getting made by two women representing two generations of country music — Carlile is 41 — who genuinely seem to respect each other, and who have obvious talent.
  27. Ticket to Paradise
    Though lacking in the script department, this cinematic wonderland delivers on one promise: escape, to a place of such natural beauty that even these affluent characters, however cardboard, are forced to take stock of the important things in life.
    • 50 Metascore
    • 37 Critic Score
    My Policeman
    Styles’s flat performance delivers the fatal blow to the film’s uninspired depiction of mid-century homophobia, forbidden love and long-simmering resentment.
  29. The Good Nurse
    Redmayne ultimately fails to crack the secret of what made this man — er, this monster — tick. But that’s not really the biggest mystery that hangs over “Nurse.” Rather, it is the question of why all these power players thought something this slight, this weightless, this forgettable was ever worth their time.
  30. Decision to Leave
    Needlessly complicated and at times almost impossible to follow, its narrative inscrutability often coming across less as the result of nonlinear storytelling than as simply a cinematic affectation.
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