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. Four Good Days
    What sets Four Good Days apart from the many other films of its ilk are Close and Kunis, who sharpen and elevate its well-worn contours with vivid performances that are honest and grounded. These are characters you can connect to, on both sides of the equation.
  2. Gunda
    Surprisingly, it isn’t heavy-handed, moralizing, polemical or sentimental. And you can enjoy the film without knowing any of that.
  3. Limbo
    It’s tempting — and not entirely inaccurate — to call this oddly moving little film a comedy-drama, but if so, it’s a dark one at that.
  4. About Endlessness
    Dreamlike and deliberate, pedestrian and theatrical, bland and strangely beautiful, About Endlessness takes in the suffering, struggle and moments of vagrant joy in life and propels them into the cosmos.
  5. My Wonderful Wanda
    An engrossing but uneven comedy-drama.
  6. Together Together
    It isn’t laugh-out-loud funny. It simply zigs when you expect it to zag. This is a small, simple story, free from emotional pyrotechnics and, mostly, false notes. It has something to say about the deeper meaning of alone-ness, without being pretentious.
  7. Our Towns
    As an exercise in sincerity, fellowship and earnest inquiry, it might be the most subversive movie in circulation right now.
  8. In the Earth
    You’ve got to give Wheatley credit: In the Earth is like nothing else you’ve seen — although some might wish it were a little less, er, original.
  9. Voyagers
    The sci-fi thriller Voyagers is grounded in very real current fears. But otherwise, it’s a bit of an airhead.
  10. The Man Who Sold His Skin
    At times, The Man Who Sold His Skin plays like a cultural parody, but its aim is dead serious, and more sobering. The pathos and tragedy of the global refugee crisis is its target, not the pretensions of the international art market, and it, from time to time, delivers a sting.
  11. French Exit
    There are times when French Exit beggars belief and tries the viewer’s patience. But as long as the camera stays on Pfeiffer, we’re all hers.
  12. Concrete Cowboy
    Even within the confines of its generic plot and sometimes stilted dialogue, Concrete Cowboy winds up being an engaging and moving family drama. Its sincerity, accomplished cast and proud Philadelphia roots manage to keep it real.
  13. Godzilla vs. Kong
    One half of Godzilla vs. Kong wants to tell a human story. Believe it or not, it partly succeeds. The other half just wants to break stuff.
  14. Nobody
    For anyone with a taste for the stylized violence and self-aware cartoonishness of the John Wick films — a taste for blood and mayhem that comes closer to corn syrup than most cinematic carnage — Nobody is a brutal treat.
  15. The Courier
    Still, The Courier makes a smart, stylish stand for the kind of old-fashioned period spy thriller that is increasingly being turned into bingeable series for streaming services. Its modesty and carefully managed ambitions define its strong suit at a time when such films are scarcer every day.
  16. The Truffle Hunters
    This endearing, thoroughly entertaining movie might be what we all need right now: An invitation to stop and smell the roses — or, if you’re lucky, their far less showy fungal cousins.
  17. Cherry
    As nervy and well-made as it is, Cherry feels less personal than pageant-like, especially in a rushed and glibly perfunctory final sequence. It unfolds like an American dream that becomes a nightmare, before switching back again — just before we wake up and shake the whole thing off.
  18. The Father
    The Father, ultimately, is a paradox: as nuanced as it is bluntly direct, as tough as it is tender. In its own elegant, confounding, chimerical and compassionate way, it’s a lot like life.
  19. Boogie
    Yes, it’s a coming-of-age story: If Boogie were fully evolved, woke and enlightened, there would be no "Boogie." But the film is just rough and unformed enough to suggest that Huang might still have some growing up to do as a filmmaker, too.
  20. Chaos Walking
    Too frequently and too loudly, the sci-fi bells and whistles of Chaos Walking overwhelm its quieter, more engrossing elements, making it hard to hear what the film really seems to be saying.
  21. Coming 2 America
    It’s not great cinema. It’s good at what it sets out to do. Which makes it great fun.
  22. The Affair
    Full of incident, heartbreak, secrets and betrayal, The Affair and its choppy formal structure don’t do justice to an enormously appealing cast.
  23. Raya and the Last Dragon
    Disney’s gorgeously animated, entertainingly told fantasia Raya and the Last Dragon is a visual feast.
  24. The United States vs. Billie Holiday
    It’s a fascinating story and well worth revisiting. But in the hands of director Lee Daniels, working from a script by the playwright Suzan Lori Parks, what should be a sensitive and densely layered drama instead becomes a perfunctory collection of scenes that feel overwrought and under-considered simultaneously.
  25. My Zoe
    My Zoe is well acted and well filmed, yes, but the storytelling, in which Delpy stitches together mismatched parts like a Dr. Frankenstein, is its weak suit.
  26. Crisis
    This cinematic triple-decker sandwich is so overstuffed with baloney and cheese it ought to come with a pickle on the side.
  27. Nomadland
    Nomadland is the kind of big and big-hearted movie — featuring a central performance at once epic and fine-tuned — that reminds you of how much life one film can hold, when circumstances allow.
  28. 17 Blocks
    It’s rare that a documentary has the ability to take the kind of long view of events that establishes context and consequence.
  29. Judas and the Black Messiah
    This is a throwback movie in the best sense of the term, asking the audience to consider the not-too-distant past of anti-Black racism as prologue to its similarly murderous present. It’s also a return to a brand of muscular, serious-minded filmmaking that has been virtually forgotten in recent years.
  30. Minari
    It’s a good movie, executed with affectionate humor, wistful honesty and tender care.
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