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. X
    It has certain je ne sais quoi, if graphic nudity, self-referential humor and serial murder — neck stabbing, eye gouging, alligator munching and shotgun blasting — are your thing.
  2. Master
    Master might be a horror film, but its scariest elements are off screen, in the form of the persistent social realities that inspired it.
  3. The Outfit
    Set in 1956, it’s a cleverly twisty crime story constructed of many invisible folds and threads, yet it fits Rylance like custom-made clothing.
  4. I Am Here
    I Am Here is, at its core, something much less complicated: a bearing of witness to horror. It’s inspirational, yes, but sadly far from unique. In its oft-heard contours, then, lies both its power and its tragic familiarity.
  5. The Adam Project
    The Adam Project isn’t especially smart, but it does leave you with a warm, fuzzy feeling. Its science grade is only passing, but its emotional IQ is above average.
  6. Turning Red
    To paraphrase Sigmund Freud, sometimes a red panda is just a red panda. And sometimes it’s a metaphor for that inner spark of creativity, the flame of originality that is to be cherished, not extinguished. With “Turning Red,” Shi demonstrates that she’s got it, in spades.
  7. After Yang
    After Yang again demonstrates Kogonada’s mastery of form, framing and composition. But audiences will be forgiven for wanting to reach through the screen to mess it up a little, if only to inject some recognizable warmth and spontaneity.
  8. The Batman
    Welcome to “The Batman,” yet another lugubrious, laboriously grim slog masquerading as a fun comic book movie.
  9. Butter
    Ultimately, it is, like its conflicted hero, sweet and likable, and you wish it well.
  10. Cyrano
    Cyrano, like the best art its implacable hero celebrates, is full of poetry, romance, terror and truth.
  11. Studio 666
    Studio 666 is either a delightful lark or a mystifying waste of time: Your pleasure will probably depend entirely on how you feel about Grohl.
  12. Dog
    While “Dog” is often funny, it’s not a comedy. Though it’s often sad, it’s not a tragedy either. Instead, it’s a sensitive, engaging, realistic look at what happens when a soldier’s toughest battle starts when they come home.
  13. Compartment No. 6
    Kuosmanen has given us another affair to remember, this time about love as something for which you’d not just go to the ends of the Earth, but to the beginning of time.
  14. Uncharted
    What transpires is part heist flick, part Mission: Impossible-lite, with a dollop of Dan Brown (for the puzzles), the DNA of Nicolas Cage in National Treasure and mildly zingy buddy-banter dressed up with a bit of The Treasure of the Sierra Madre’s existential darkness.
  15. The Cursed
    The Cursed is stylish and scary enough for what it is. That’s an old-fashioned creature feature, effective enough to give you a mild case of the heebie-jeebies but nothing chronic.
  16. Strawberry Mansion
    The movie sounds — and looks — tasty enough, but this “Strawberry Mansion” just doesn’t bear much fruit.
    • 83 Metascore
    • 75 Reviewed by
      Hau Chu
    Lingui, The Sacred Bonds
    Writer-director Mahamat-Saleh Haroun paints a world that can feel as vast as it is isolating, while Amina, along with most of the other characters, speaks in a direct, almost transactional manner that befits her steely demeanor.
  18. Blacklight
    For fans of Neeson as action hero, “Blacklight” may be something of a disappointment, at least measuring it against the yardstick of previous thrillers in this particular branch of the actor’s body of work.
  19. The Worst Person in the World
    Trier and Reinsve have gifted audiences with a movie that understands the ecstasy of diving into the unknown, the flush of new love, the beauty of connecting amid unspeakable loss.
  20. Marry Me
    It’s a movie that’s all too happy simply to go through the motions when its star is clearly capable of busting bigger, more interesting moves. Luckily, there are other films in the sea. This is one that Lopez should have left at the altar.
  21. Death on the Nile
    The crime’s solution is fine and dandy, but it’s Poirot himself who most fascinates. This isn’t your grandmother’s Agatha Christie, in other words. It belongs to Branagh, heart and soul.
    • 62 Metascore
    • 63 Critic Score
    Breaking Bread
    By lovingly examining these dishes’ cultural underpinnings, Hawk serves up an insightful introduction to a food scene at the cross-section of political strife and culinary excellence — not a full meal, exactly, but an enticing appetizer.
  23. Minamata
    Despite its poignant subject matter, much of the film feels like a pastiche of political thriller, romantic drama and tortured-genius cliches.
    • 74 Metascore
    • 88 Reviewed by
      Hau Chu
    Jackass Forever
    Not since “Magic Mike XXL” has there been a greater testament to the cathartic, even rapturous power of men baring their bodies in performance.
  25. Who We Are: A Chronicle of Racism in America
    The combined impact of these scenes, augmented with Robinson’s lecture — which, while deeply informed and informative, is anything but dull or academic — makes for a powerful one-two punch.
  26. Sundown
    Sundown is at its most engrossing as an individual portrait, even if its inscrutable subject is a person to whom virtually no (sane) viewer will relate. Roth is still a great and mesmerizing actor, even when he’s drifting, vacantly, through a hellscape.
  27. GameStop: Rise of the Players
    It’s a yarn that’s made for a great storyteller, with thrills and chills to burn. But the way Tulis spins the thread is wonkier and clunkier than it could, or should, be.
  28. France
    Dumont is clearly critiquing the way we mediate life via screens, large and small. There are times in this rambling story when the filmmaker’s point isn’t quite as obvious, but that’s only because he has a habit of trying to jab several moving targets with a sharp stick all at the same time.
  29. Rifkin's Festival
    Like a dream you’ve half forgotten by the time you get to the breakfast table, it’s neither good enough to make much of an impression or bad enough to completely forget.
  30. Redeeming Love
    Redeeming Love is an incident-rich saga populated by cardboard heroes and villains and outfitted with greeting-card sentiments and cartoon villainy.
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