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. The Rescue
    The Rescue isn’t just a movie about cave divers, or a recap of a well-reported humanitarian operation. It’s ultimately a film about the triumph of altruism, ingenuity and perseverance in the face of almost impossible odds, by the very people you might initially have dismissed as not up to the task.
  2. Lamb
    Lamb is weird and disturbing, even by the standards of the movie’s indie distributor, A24, which is known for its eclectic and times unsettling content. But it’s also strangely beautiful.
  3. No Time to Die
    Daniel Craig’s fifth and final outing as the secret MI6 superagent James Bond is also a fittingly complicated and ultimately perversely satisfying send-off for the actor, whose character as the film gets underway isn’t even Agent 007 any more, but a retiree (as Craig is about to become, from this franchise).
  4. Venom: Let There Be Carnage
    What it lacks in originality it makes up for with a streamlined story, a sharp pace — there isn’t a superfluous moment or a wasted scene — and quips galore.
  5. The Many Saints of Newark
    Alternately claustrophobic and epic compositions can’t make up for the myriad story lines (including one frustrating red herring) and pacing issues that periodically lose sight of the stakes at hand.
  6. Titane
    With Titane, Ducournau joins the crowded realm of elevated horror, to increasingly outlandish and alienating effect.
  7. The Guilty
    For its eventual lurid machinations and hyped-up emotionalism, the film winds up being a handsomely efficient one-man show. Like the man Gyllenhaal so convincingly embodies, it gets the job done, even if it inevitably goes over the top.
    • 37 Metascore
    • 37 Reviewed by
      Hau Chu
    The Addams Family 2
    The most ghastly thing about the whole movie? The mainstreaming of these most outsider-y of outsiders.
    • 39 Metascore
    • 75 Critic Score
    Dear Evan Hansen
    By scaling back the script’s laughs and excising four songs (plus countless reprises), the film at times lands in an uncanny valley between the heightened musical at its core and the weightier young adult drama Chbosky seems to have envisioned.
  10. I'm Your Man
    It’s a heady dramedy, albeit without terribly many tears or laughs, except those that arise, perhaps unintentionally, from the incongruity of Stevens being repellent.
  11. My Name Is Pauli Murray
    My Name is Pauli Murray delivers a lively, revelatory litany of all the things Murray got right first, in a career that was driven by equal parts intellectual curiosity and call to service.
  12. Blue Bayou
    Blue Bayou strikes a nerve, of that there is no doubt. But then it keeps poking at it, pointlessly.
  13. The Eyes of Tammy Faye
    The Eyes of Tammy Faye gives viewers an absorbing, amusing and provocative chance to rethink yet another train wreck who turned out to be, of all things, human.
  14. Cry Macho
    Maybe it’s true that it’s never too late to find a new home. But in some ways, it feels like “Cry Macho” has missed the bus. Perhaps Eastwood should have kept his hand on the reins of this pet project while letting someone else sit in the saddle.
  15. Copshop
    Though there’s no reinvention of the genre here, Louder’s mesmerizing mouse proves more than a match for the assembled tomcats — all exuding machismo — with whom she must deal.
  16. The Alpinist
    There is a revealing narrative here: a conflict, a climax and a denouement that you may not expect. The Alpinist has built-in drama, simply by virtue of who and what it sets out to document.
  17. The Card Counter
    With The Card Counter, Schrader has reverted to form, but he’s remade it anew at the same time. He’s done it again, with crafty, haunting power.
  18. Everybody's Talking About Jamie
    In the tradition of such bracing musicals as Kinky Boots, Billy Elliot and Prom, Everybody’s Talking About Jamie has exuberance to burn, high spirits galore and a brand of message-driven escapism that’s as insistent as it is worthy. Resistance, in other words, is futile.
  19. Who You Think I Am
    With a tone that shifts as much as a profile picture, Who You Think I Am is a nail-biting ride through social media anxiety.
  20. The Year of the Everlasting Storm
    The Year of the Everlasting Storm doesn’t end with catharsis, but even insects may have something to teach humanity: to endure the best way we can, however minuscule we may feel in the face of an incomprehensible world.
  21. Queenpins
    A good story lurks somewhere in Queenpins, but Gaudet and Pullapilly take the easy way out at every plot point and with nearly every joke.
  22. Cinderella
    Cinderella, the latest of countless adaptations of the centuries-old rags-to-riches story, is far less interested in enchantment than in dismantling the entire sexist, classist racket.
  23. He's All That
    In the end, He’s All That is not all that — not even a little bit of that.
  24. Together
    Even at its most glancing and superficial, Together offers a diverting attempt at capturing recent history, in all its maddening contradictions and compromises, recriminations and rages. It reflects a time when all we had was each other, for better or — way too often — for worse.
  25. Flag Day
    As a director, Penn knows how to create arresting tableaus that draw the eye and spark the viewer’s own sensory past. As an actor, no one is better at finding honesty in the moment. Like the antihero at its center, the essence of Flag Day remains tantalizingly elusive, potently evoked but never fully realized.
  26. Candyman
    Candyman can’t seem to decide whether it wants to scare you or make you think.
  27. Ma Belle, My Beauty
    Rather than a meditation on desire, Ma Belle, My Beauty becomes a portrait of how people simultaneously crave intimacy and keep each other at bay. Viewers may wish there were more to it, but what’s there is teasingly intriguing.
  28. Shang-Chi and the Legend of the Ten Rings
    It remembers to have fun. It’s a kick to watch — often literally — and the kind of popcorn movie summer is made for.
  29. The Protégé
    The Protege may not rise to the level of art, but like Anna herself, it does demonstrate a mastery of a certain set of skills, however limited.
  30. Ema
    Di Girólamo delivers a performance that is, like the combustible fuel inside the tank strapped to her back here and there throughout the film, intense, hot, destructive — and hard to look away from.
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