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. Villains
    If you’re a fan of broad black comedy — the kind in which someone blasts a hole in someone else’s head, and then the next camera shot is framed by that gaping aperture — Villains may be your cup of strong tea. The dialogue by writer-directors Dan Berk and Robert Olsen is less than witty, and peppered with a heavy sprinkling of dully numbing f-bombs.
  2. Monos
    The violent, beautiful and powerfully watchable movie Monos — Spanish for monkeys — takes its title from the code name used by a group of teenage guerrillas.
  3. Downton Abbey
    Downton Abbey is eye and ear candy of the highest order: rich and delicious, but not especially nutritious.
  4. Linda Ronstadt: The Sound of My Voice
    If there’s one drawback to The Sound of My Voice, it’s that Ronstadt herself declined to sit down with the film’s directors, Rob Epstein and Jeffrey Friedman.
  5. The Goldfinch
    Overstuffed, overlong and utterly uninvolving, this is a movie that feels as morbidly trapped as the poor little bird of its title. Rather than spread its wings and fly free, it stays frustratingly, eternally inert.
  6. Tigers Are Not Afraid
    López elicits solid performances from the young actors, and her vision is clear and uncompromising. It isn’t always obvious, however, what the moral of this story is. There’s an air of wishful thinking to the way things work out, even if a traditional happy ending is elusive.
  7. Raise Hell: The Life & Times of Molly Ivins
    It is when Ivins herself opens her mouth that the film is at its best.
  8. Hustlers
    A funny, naughty, enormously entertaining kick in the pants, promising to be an East Coast “Showgirls,” only to wind up a girls-rule “Goodfellas,” leading viewers into a vicariously thrilling underworld ruled by money, drugs, seduction and a sliding moral scale dictated by ruthless realpolitik.
  9. It: Chapter Two
    The movie is like a game of musical chairs that runs too long. And since Muschietti has few scare tactics at his disposal, the film loses its capacity to frighten.
  10. Vita & Virginia
    Vita & Virginia may be about two fascinating characters, but it’s also case of words, paradoxically, obscuring the real people who wrote them.
  11. Official Secrets
    Although Knightley’s Gun often seems to be a passive figure, buffeted by the machinations of those around her, the film’s honesty about the enormous personal costs of whistleblowing is a welcome relief from more romanticized heroics.
  12. Before You Know It
    Before You Know It isn’t a deep movie, or a hilarious one, and Utt and Tullock probably don’t expect it to be. But it is, in its undemanding, almost effortless way, warm and wise and watchable enough to be just this side of wonderful.
  13. Brittany Runs A Marathon
    An engaging, modestly amusing, sometimes laugh-out-loud hilarious comedy of manners in which the usual millennial excesses are skewered, from the invidious hellhole of social media to the mendacities of online dating.
  14. Don't Let Go
    Don’t Let Go manages, at times, to generate a nicely weird “Twilight Zone” vibe, but fails to sustain it, as it also runs into some of the same problems that plague movies of this ilk: If you tear the fabric of time by altering what has already happened, it can be difficult to sew it back up straight.
    • 42 Metascore
    • 37 Reviewed by
      Hau Chu
    Killerman
    Killerman takes its influences — countless pulpy crime thrillers — and synthesizes them into an increasing rare thing: a movie that doesn’t aspire to any greater heights than where it lands: squarely in the middle of the August dumping ground.
  16. Love, Antosha
    At once charming and bittersweet. But the film loses focus a little as it heaps accolades on the late actor.
  17. The Fanatic
    Does not live up to the extravagantly wounded ferocity with which Travolta attacks his part.
  18. American Factory
    Filmed with extraordinary attention to environmental detail and revealing human interactions, American Factory is that rare documentary that’s not only compelling in its content but a profound sensory pleasure.
  19. Cold Case Hammarskjöld
    Funny, provocative and chilling, Cold Case Hammarskjold draws the viewer into that helix and manages to be improbably entertaining, even as it becomes increasingly, shockingly uncomfortable. It’s impossible to emerge from this film without being shaken to your core. Mission accomplished: Mind blown.
    • 45 Metascore
    • 37 Reviewed by
      Hau Chu
    Angel Has Fallen
    Most action flicks would settle for thrilling violence and mayhem, in service of a utilitarian plot. “Angel” flips this formula on its head, delivering a surprisingly coherent story but with no discernible sense of fun.
  21. Ready or Not
    The dialogue is less than sparkling, and what passes for witty repartee is mainly a barrage of sarcastically delivered f-bombs and such insults as “gold-digging whore.” The style of acting would, at a sporting event, merely be called shouting.
    • 57 Metascore
    • 12 Critic Score
    The Last
    A perplexing conundrum of a film: a potentially profound concept buried beneath layers of amateurishness.
  23. Aquarela
    As startling as the crisp and, yes, dramatic images may be, a sense of slight monotony sometimes creeps in after so many shots of ice, calving glaciers, heaving waves, sea foam, rain, snow, fog, mist, etc. Despite these occasional moments of tedium, however, the film is at once chilling and likely to make your blood boil.
  24. Where'd You Go, Bernadette
    If the family dynamics feel perfunctory and too-neatly resolved by the end of Where’d You Go, Bernadette, Blanchett’s nuanced portrayal of stymied creativity, exacting taste and sensibilities too bold and well-judged for an uncaring world manages to be funny and uncompromising in equal measure.
  25. One Child Nation
    One Child Nation covers a lot of a territory, and many of its topics need to be covered in more depth. But the directors structure the narrative effectively, and they deftly expand from the personal to the historical. This is an important film, if often a difficult one to watch.
  26. Good Boys
    Hits all the expected marks for raunch and vulgarity, with the bonus that it is actually also kind of sweet.
  27. Blinded by the Light
    Warm, funny, humane and deeply sincere, this ode to Bruce Springsteen, breaking free and belonging isn’t content merely to revel in Springsteen’s greatest hits — although it does, with vibrant, vicarious exhilaration. It delves into the singular power of music, and by extension art itself, to make its audience feel comprehended.
    • 70 Metascore
    • 63 Critic Score
    The Peanut Butter Falcon
    The film’s on-the nose allusions to Twain ultimately contribute to a sense of derivation, undermining the originality of the material and preventing “Falcon” from graduating from good to great.
  29. The Angry Birds Movie 2
    The Angry Birds Movie 2 is not great cinema. But the animated sequel — inspired by the popular Angry Birds games, available on mobile devices and other platforms — goes above and beyond what is to be expected from such things.
  30. After the Wedding
    This sets up a mesmerizing double master class in acting — by Moore, to be sure, but also by Williams.
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