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. Swallow
    Bennett claims her own form of autonomy with the movie itself, which could be read as an actress’s decision to stop hoping for good scripts to arrive over the transom and make her own luck.
  2. First Cow
    We might go into a Kelly Reichardt movie thinking we’ll be told a story, but we emerge with our consciousness subtly and radically altered.
  3. The Hunt
    A movie straining so hard to be edgily of-the-moment that it can’t help but be utterly irrelevant, strives to impress viewers with sadistic killings, oozing viscera and extravagant gushers of blood. But its most dramatic spectacle might be the sight of a facile, lazy enterprise being hoist on its own cynical petard.
  4. Bloodshot
    The movie is presented as the story of a man who hasn’t figured out who he is yet. But that’s not quite right. Instead, it’s a movie that doesn’t seem to know what it wants to be when it grows up.
    • 83 Metascore
    • 75 Reviewed by
      Hau Chu
    Saint Frances
    A charming, nuanced story with plenty to say about making just that sort of superficial judgment and about what people are actually going through beneath their carefully crafted appearances.
  6. The Burnt Orange Heresy
    A mostly smart and sexy crime drama, even if it loses steam by the time the ridiculous ending rolls around.
  7. Burden
    Overlong and overstuffed with Southern rock and blues numbers, Burden is not exemplary filmmaking. But for viewers who can endure another spin through white-supremacist malice and ignorance, Hedlund and Riseborough make it a compelling ride.
  8. The Banker
    A handsome-looking if occasionally dull affair.
  9. Onward
    Onward is ultimately a trip worth taking.
  10. Corpus Christi
    What ensues in Corpus Christi, Jan Komasa’s absorbing and spiritually attuned drama, turns out to be a fascinating exercise in fake-it-till-you-make-it, with a hefty dose of fatalism and small-town hypocrisy thrown in for maximum provocation.
  11. Hope Gap
    A slight, yet inoffensive tale, inspiring little more than a shrug, thereby making it hard to either wholeheartedly endorse or strongly criticize.
  12. Greed
    The comedian’s wryly clownish antics as the preening, not-especially bright owner of several fast-fashion stores are in service of a story that feels sloppy and overly broad.
  13. Wendy
    That’s the real, and somewhat obvious, lesson here, in a lovely yet flawed confection that might be summed up by two words: beautiful nonsense.
  14. The Invisible Man
    It’s just a giant missed opportunity to be something more.
  15. Premature
    A delicious slow-burn of a movie, the kind of coming-of-age tale that looks familiar on the surface only to reveal hidden depths of beauty and meaning.
  16. Emma.
    It’s a more than serviceable pleasure, for fans of Austen’s 19th-century comedy of manners and romantic misunderstanding.
  17. Once Were Brothers: Robbie Robertson and The Band
    Once Were Brothers is enormously valuable, if only as a reminder of what an extraordinary run this extraordinary convergence of talents enjoyed until their final show on Thanksgiving Day in 1976 (meticulously captured by Scorsese in the magnificent documentary “The Last Waltz”).
  18. The Lodge
    The Lodge isn’t a perfect treat. But for those who like their movies dark and disturbing, it does the trick.
  19. And Then We Danced
    In Akin’s capable hands, And Then We Danced becomes an affecting testament to heartbreak, resilience and emotional expression at its most liberated and life-affirming.
    • 85 Metascore
    • 75 Reviewed by
      Hau Chu
    Beanpole
    A mostly empathetic tale of war’s cruelty as it affects both those who fight and those who merely look on. That empathy is conveyed through haunting performances, stunning direction and a sense of detail that elevates it beyond standard historical drama.
  21. Ordinary Love
    The point being: Even when questions of life and death loom large, someone still has to make dinner. That observation doesn’t make Ordinary Love a major motion picture event. But it does, in its own quiet, wise way, nudge it just a little bit closer to the extraordinary.
    • 48 Metascore
    • 50 Critic Score
    The Call of the Wild
    Stands out for its earnest effort to entertain without commenting on itself or the modern world.
  23. Sonic the Hedgehog
    In the end, “Sonic” is quippy without being mean, and sweet without being sappy, making this a trip that’s well worth taking.
  24. Downhill
    It isn’t great. It’s a watered-down version of the original, but it’s still pretty good: neither wise nor profound, yet sometimes smart and with sharp elbows — especially if you have nothing with which to compare it.
  25. What She Said: The Art of Pauline Kael
    What She Said pays fitting homage, not just to a great writer but to a vanished age.
  26. Portrait of a Lady on Fire
    True to its title, Portrait of a Lady on Fire generates more than its share of heat, even if it never truly becomes an engulfing flame.
  27. The Woman Who Loves Giraffes
    The first story “Giraffes” tells is one of endangered animals. The second — and equally powerful one — is a narrative of not just one woman’s struggle to be taken seriously, but the struggle of all women to do so.
  28. The Assistant
    Set over the course of a single, very long day, The Assistant derives almost all its quiet power from Garner, on whose face we see confusion congealing into concern.
  29. The Traitor
    If The Traitor proves anything, it’s that an 80-year-old filmmaker can still pounce.
  30. The Rhythm Section
    The Rhythm Section was directed by Reed Morano, who did a nice job with the first few episodes of “The Handmaid’s Tale,” but who seems a bit self-indulgent here.
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