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. Dora and the Lost City of Gold
    Sure, there may be a nugget or two of gold in “Lost City.” But it mostly stays lost, in this convoluted drag of a script. “Dora” should have picked a path and stayed on it. Instead, it’s a movie that is muy aburrido — boring.
  2. The Kitchen
    Although there are genuine moments of humor, they’re at odds with the increasingly ghastly measures taken by the three protagonists, as they succumb to power-hunger, paranoia and overkill.
    • 57 Metascore
    • 50 Critic Score
    Them That Follow
    Olivia Colman, Kaitlyn Dever and Jim Gaffigan round out a talented yet crowded ensemble cast, which has so many principal characters — all flawed in a different way — that the filmmakers are unable at times to devote the attention that each one deserves.
  4. The Nightingale
    Like “The Revenant,” The Nightingale becomes something of a slog, as Clare’s journey plods toward its maybe-inevitable end.
  5. Piranhas
    Piranhas is no documentary, but it plays out with a deadpan style that is deeply unsettling.
  6. Luce
    A funny thing happened while watching Luce. With only a half-hour or so of the movie left to go, it suddenly occurred to me: I wasn’t sure what the movie was actually about. Or, more accurately, it was about so much that, at the point where most films are starting to wrap things up, this one felt like it was still just setting the stage.
  7. The Art of Racing in the Rain
    The movie has its flaws. Still, for anyone with a soft spot for the mute gaze of man’s best friend, it’s hard not to shed a tear — or two — during The Art of Racing in the Rain.
  8. Honeyland
    The film by Tamara Kotevska and Ljubomir Stefanov is a strange and curious thing: part fly-on-the-wall anthropology, part ecological fable.
  9. Brian Banks
    On one level, Brian’s story is meant to be inspirational; the real Banks would ultimately go on to play in the NFL. But it is also a painful reminder of how young black people still face overwhelming disadvantages. The film leaves you wondering: What might have happened if Brian hadn’t been a talented linebacker?
    • 70 Metascore
    • 75 Critic Score
    Tel Aviv on Fire
    Lighthearted and entertaining aren’t words often used to describe movies about the Israeli-Palestinian conflict. But the characterization fits Tel Aviv on Fire to a T.
  11. Fast & Furious Presents: Hobbs & Shaw
    The film is far from prestige fare, yet more often than not, it hits that summer sweet spot between the silly and the satisfying.
  12. David Crosby: Remember My Name
    Famously prickly, Crosby never gets really angry in “Remember My Name,” although at one point he yells at Eaton about the filmmaker not being able to set up a good shot (Crosby comes by the expertise honestly: His father, Floyd Crosby, was an Oscar-winning cinematographer).
  13. Mike Wallace Is Here
    It’s also a telling personal moment, because it opens the door to a discussion of Wallace’s struggles with depression and suicidal thoughts.
  14. Once Upon a Time ... in Hollywood
    Once Upon a Time in Hollywood is often diverting to watch, and it’s been shot on 35mm film with lovingly expressive care by Robert Richardson. But true to its title, it plays like a bedtime story concocted by a petulant child who insists on getting his own back from the people who poisoned his most honeyed dreams.
  15. Three Peaks
    Three Peaks is not a devastating film like “Force Majeure” — another mountain-set foreign film about the exposure of fissures in a family dynamic — but it is a satisfying one. There’s just enough closure to its inconclusive climax to allow you to relax, even if it doesn’t give you much to terribly ponder during the drive home.
  16. The Mountain
    The Mountain is what it is, and any attempt to recapitulate its meaning in some other form (like — ahem — a movie review) is a fool’s errand. With that in mind, it is probably best to set this thought down, and leave it with you: The Mountain is not for everyone, but it is, most emphatically, something else.
  17. The Farewell
    The Farewell pays delightful, insightful homage to the facades and pretenses nearly everyone adopts in the name of compassion.
  18. Sword of Trust
    There’s a low-key, lackadaisical charm about Sword of Trust that might lead viewers to mistake its modesty for lack of ambition. But there’s virtuosity at work in this beguiling comedy that’s no less impressive for being improvisational, understated and refreshingly self-effacing.
  19. The Art of Self-Defense
    At times, the movie struggles to maintain the critical balance between detachment from and engagement with the thing it’s making fun of.
  20. The Lion King
    There’s something about this Lion King, which, like the original, has its narrative roots in “Hamlet,” that feels so much more Shakespearean and — there’s no other word for it — so much more tragic than the 1994 feature-length animation, in which the story’s darker themes were subliminal, not center stage.
  21. Stuber
    Even Nanjiani’s endearingly funny turn isn’t enough to elevate Stuber above its own trite, lazy aspirations. He might drive away with the movie, he just doesn’t drive far enough.
  22. Marianne & Leonard: Words of Love
    Dutifully covering the rise, fall and final triumph of Cohen’s career, Broomfield relegates Ihlen to the background of her own story, before bringing her back for the film’s touching final act and devastating epilogue. Achieving the kind of balance to which Cohen always aspired, Marianne & Leonard is heartbreaking and heartening in Zen-like equal measure.
    • 69 Metascore
    • 88 Critic Score
    The Reports on Sarah and Saleem
    At its heart, though, this is a film about human nature: about desire, recklessness and emotions. The fraught relationship between Israelis and Palestinians is this tale’s powerful overlay. But it’s the questions it raises about personal accountability that speak to wider truths.
  24. Maiden
    That makes Maiden not just a ripping yarn but a meaningful one. Like “RBG” last year, it’s a story that reminds women — and men — not only how far we’ve come in one generation but how far we’ve yet to go.
  25. The Quiet One
    It’s all very eventful, to be sure, but there is little insight offered up into any kind of larger meaning, whether psychological, musical or sociological.
  26. Midsommar
    Only the most committed Aster-pologists are likely to enjoy Midsommar at its fullest; others, meanwhile, may admire its handsome visual design and bravura performances without completely buying in to the alternately diseased and fuzzy fable at its core.
  27. Spider-Man: Far from Home
    Holland, Zendaya and Jacob Batalon (as Peter’s best friend, Ned) convincingly convey adolescent awkwardness, despite the fact that they’re all in their 20s.
  28. Yesterday
    Eventually — perhaps inevitably — Yesterday overplays its hand, with Curtis seemingly at a loss for how to resolve a story that, after its initial premise has been mined for maximum humor and poignancy, has very few places to go.
  29. Wild Rose
    To its great credit, the movie turns left when you expect it to turn right, taking a route that is less well traveled, yet more plausible.
    • 71 Metascore
    • 75 Reviewed by
      Hau Chu
    The Third Wife
    Some viewers may want delicacy in a period film about women navigating a world in which they’ve been pitted against one another. But maybe, Mayfair suggests, we need the blunt reminder: The issues that women were confronting in the Vietnam of the 1800s — a world in which they’re considered property more than people — aren’t all that different from today.
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