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. Black and Blue
    The action is sufficiently gripping, even if the drama plays out along predictably violent lines.
  2. The Cave
    Fayyad — who directed a team of cinematographers remotely when he was prevented from entering Ghouta himself — films The Cave with a grace and compositional sensitivity all the more impressive for being achieved under the most difficult circumstances.
  3. The King
    In this case, director David Michôd — working from a script he co-wrote with actor Joel Edgerton — doesn’t make the material distinctive or provocative enough to merit a second, far more dramatically inert go-round.
  4. Jojo Rabbit
    Set to an anachronistic pop soundtrack and an eye-poppingly attractive production design that would be right at home in a Wes Anderson movie, this is a film that dares you not to enjoy its material pleasures, even as you wonder if you should be laughing quite so hard at the jokes.
  5. The Current War: Director's Cut
    The main problem, despite committed and at times vivid performances by the three main actors — and a mostly perfunctory supporting appearance by Tom Holland as Edison’s loyal assistant Samuel Insull — is the sheer amount of information that the movie tries to convey.
    • 75 Metascore
    • 75 Critic Score
    By the Grace of God
    Ozon has said the American drama “Spotlight” inspired his sober, methodical approach. The similarities between the two films are obvious, but there’s a crucial difference: While the 2015 Oscar-winner focused on investigative journalists, By the Grace of God is primarily concerned with the victims.
  7. Western Stars
    Swaggers across the landscape like a cinematic epic, but it’s basically a concert flick, with some extras. And those extras are not the best things in it.
  8. Zombieland: Double Tap
    There’s a repetitive — but not necessarily redundant — quality to Zombieland: Double Tap, a violent, funny and satisfying sequel to the 2009 cult hit zombie comedy.
    • 83 Metascore
    • 75 Critic Score
    The Lighthouse
    What unfolds is a perverse odd-couple tale, flooded with ornate dialogue, surreal storytelling and nightmarish imagery.
  10. Maleficent: Mistress of Evil
    Think twice about taking very young children — or even some susceptible adults — to this at-times shocking, if less than graphic, gloom-and-doom fest. But the worse sin is: It’s boring.
    • 79 Metascore
    • 88 Critic Score
    Midnight Traveler
    A timely, essential film.
    • 97 Metascore
    • 100 Reviewed by
      Hau Chu
    Parasite
    With Parasite, Bong’s finest work to date, the 50-year-old director clearly articulates a throughline that has been present in all his previous work: there’s no war but the class war.
  13. El Camino: A Breaking Bad Movie
    Nothing about El Camino makes a case that we are necessarily better off with it than without it, or that some great hole has now been filled. It turns out we were fine with the idea of not knowing exactly what happened to Jesse; that way, we could always hope the best. Now that we know, dare we ask for a little more? Or leave it be?
  14. The Laundromat
    As inventive as The Laundromat is as an information vector, though, its semi-ironic tone is at odds with the content at hand: This is a movie that often feels like it’s fighting itself, asking viewers to be charmed by Oldman and Banderas’s characters one moment, and — maybe? — outraged the next.
    • 38 Metascore
    • 25 Critic Score
    Gemini Man
    The script screams of a thinly written, ’90s-era narrative reanimated for audiences who now expect more depth from their action movies. The final product is less a technical marvel than an ambitious experiment gone wrong.
  16. Dolemite Is My Name
    Like “Once Upon a Time in Hollywood,” this is a movie rooted in the scruffy but golden days of the 1970s, populated by strivers and schemers and would-be stars whose breakthrough is as much a function of willpower as raw talent.
  17. Pain and Glory
    As a portrait, Pain and Glory is less a mirror than an impressionistic painting. It’s an emotional rendering of a person, not a literal one.
  18. Lucy in the Sky
    It is the story itself that never achieves liftoff.
  19. Jim Allison: Breakthrough
    This is a “just see it” movie, as in: Forget flowery language, redundant synopsis, clever paraphrasing or hyperbolic praise. Just see the dang thing.
  20. Joker
    The truth is, it’s just a movie — a fine movie, not a great movie, a movie that will please the specific subculture of fans it aims to service, while those who have survived this long without caring about comic-book movies can go on not caring.
  21. First Love
    First Love isn’t art, by any means, but it’s way more entertaining than it should be. One brief sequence, involving an airborne car, was probably too crazy — not to mention too expensive — to actually film, so Miike renders it as animation.
    • 53 Metascore
    • 50 Critic Score
    Britt-Marie Was Here
    It’s both a success and a shortcoming of Britt-Marie Was Here that the flashbacks to her younger years, and the discovery of what happened to her more free-spirited sister, represent the film at its fullest emotional capacity.
  23. Abominable
    The animated film takes a standard story and adds so much visual beauty that it exceeds expectations.
  24. Judy
    The result is a relatively straightforward slice-of-life biopic, bogged down with flashbacks and backstage histrionics, that nonetheless offers an utterly transfixing glimpse at the art of screen performance writ gloriously, glamorously large.
  25. The Death of Dick Long
    Newcomb is especially good and poignant, but Abbott also brings a pitiful emotional honesty to a repugnant character.
  26. Moonlight Sonata: Deafness in Three Movements
    “Moonlight” is actually not about one thing, but many, and Brodsky threads her themes together nicely. The film also charts Paul Taylor’s incipient dementia, a development that “Moonlight” weaves into its other story lines by noting, poetically, that our mistakes — the metaphorical, and inevitable, false notes we play in life — can become, as Brodsky puts it, “our music.”
  27. Where's My Roy Cohn?
    Through the lens of the eminence sleaze at its center, Where’s My Roy Cohn? offers as cogent a primer as any on how we got here. Meanwhile, somewhere down there, Roy Cohn is having the last, bitter laugh.
  28. Ms. Purple
    The empowerment trajectory of Ms. Purple, whose title may refer both to the color of two dresses worn by its protagonist and to the hue of hard-won bruises she sports by the end of the film, will surprise no one.
  29. Loro
    A brilliant film has been made about the spectacularly corrupt administration of Italian prime minister Silvio Berlusconi. It’s called “Videocracy” and it’s available on a streaming service near you. Loro, on the other hand, is a much more mixed bag.
  30. Ad Astra
    In a mesmerizing, minimalist performance, Pitt forms the gravitational center of a film that takes its place in the firmament of science fiction films by fearlessly quoting classics of the genre (as well as those outside it). The net effect is that Ad Astra feels both familiar and confidently of itself, all the more boldly affecting by being unafraid to acknowledge the forebears it explicitly invokes.
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