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. All I See Is You
    The secrets that are revealed, to the extent that a viewer is able to make out what they are, remain murky, even to the end of the movie.
  2. Chavela
    The result is a solid if conventional bio.
  3. Jane
    An intermittently effective biography, marred by a frequently intrusive score.
  4. The Paris Opera
    The Paris Opera is a good representation of the struggle behind the spectacle. In movies, though, it’s sometimes best to even out those proportions — a little less absolute truth, and a little more bull.
  5. Thank You for Your Service
    Writer-director Jason Hall astutely conveys these and other facets of the modern veteran’s experience, generating authentic drama, in scenes that play out in unexpected ways.
  6. Suburbicon
    A movie that possesses the stylized, lethal-Looney-Tunes slapstick we’ve come to associate with Coenesque humor, as well as the fiery, thinly disguised polemic of such past Clooney projects as “Good Night, and Good Luck.”
  7. The Killing of a Sacred Deer
    In his most bracing and maddening morality tale yet, Lanthimos doesn’t so much paint himself into a corner as he runs into it, headlong, dragging us with him all the way.
  8. Wonderstruck
    For all the story’s cosmic echoes across the ages, the pacing just feels off. Still, the approach is inventive.
  9. Only the Brave
    The acting ensemble has a believable, brotherly chemistry, especially Teller and Taylor Kitsch, playing a troublemaker who initially teases Brendan brutally before the two warm up to each other, forming an adorable bond.
  10. The Meyerowitz Stories (New and Selected)
    Structurally, The Meyerowitz Stories is a shapeless and baggy thing.
  11. Breathe
    The story by screenwriter William Nicholson (“Everest”) jumps from one major episode in Robin’s life to another, but with none of those episodes delving into his interior life, Breathe remains a superficial tear-jerker.
  12. Faces Places
    Faces Places is a film of sheer joy, its exuberance surpassed only by its tenderness and purity of purpose.
  13. Dina
    There are moments in Dina that invite viewers to wonder whether Santini and Sickles aren’t veering into voyeurism, such as when Dina presents Scott with a copy of “The Joy of Sex” and proceeds to have a conversation about masturbation and other matters.
    • 75 Metascore
    • 75 Critic Score
    For Ahkeem
    The vicious-cycle narrative is familiar, but For Ahkeem comes uncomfortably close at times to crossing the line between shining a light on a problem and exploiting one, despite the filmmakers’ good intentions.
  15. Brawl in Cell Block 99
    In place of catharsis, the climax provides gross-out slapstick, but writer-director S. Craig Zahler takes his handiwork so seriously that viewers may do the same.
  16. Happy Death Day
    This is one movie that no one needs to relive.
  17. Human Flow
    Human Flow asks us, implicitly, why we seem to care so much about certain living creatures and not others.
    • 46 Metascore
    • 50 Critic Score
    So B. It
    To the detriment of their story, the filmmakers seem to have forgotten that even the most serious of kid-friendly films can benefit from an injection of fun while attempting to jerk tears.
  19. Take Every Wave: The Life of Laird Hamilton
    Although Hamilton — who is not widely known to a general audience — is inarguably a legend in his sport, and an engaging enough subject, Take Every Wave doesn’t give us a reason to invest deeply in his story.
  20. Marshall
    Director Reginald Hudlin handles the story with just enough finesse to make its details more thrilling than uneasy.
  21. Loving Vincent
    Visually, it’s spectacular. Conceptually, it’s jaw-dropping to simply considering the effort that went into this. The story, however, doesn’t always hold its own.
  22. Goodbye Christopher Robin
    Though Goodbye Christopher Robin has moments of delight and even profundity, and looks-PBS pretty, too often it stumbles.
  23. The Florida Project
    Dafoe delivers his finest performance in recent memory, bringing to levelheaded, unsanctimonious life a character who offers a glimmer of hope and caring within a world markedly short on both.
  24. The King's Choice
    The performances are fine and nuanced, but the stakes seem, for some reason, more theoretical than actual.
  25. The Mountain Between Us
    Helped by director Hany Abu-Assad and spectacular cinematography by Mandy Walker, who makes the most of the film’s British Columbia locations, Elba and Winslet generate chemistry that is convincing in direct proportion to the story’s outlandishness.
  26. Mark Felt: The Man Who Brought Down the White House
    As alternate history and a showcase for a fine Neeson characterization, “Mark Felt” offers an intriguing if incomplete view of a man who remains inscrutable, 40 years after the fact.
  27. Lucky
    What starts out trivial gradually turns into a drama about big ideas: mortality and the meaning of life; the value of relationships and the vulnerability they require.
  28. Te Ata
    Simultaneously earnest yet maudlin, Te Ata lacks the one thing its subject is said to have possessed: a gift for storytelling.
  29. Blade Runner 2049
    Blade Runner 2049, the superb new sequel by Denis Villeneuve (“Arrival”), doesn’t just honor that legacy, but, arguably, surpasses it, with a smart, grimly lyrical script (by Fancher and Michael Green of the top-notch “Logan”); bleakly beautiful cinematography (by Roger Deakins); and an even deeper dive into questions of the soul.
  30. The Unknown Girl
    The question that looms large here, lingering long after the closing credits, is whether, despite our human need for forgiveness, absolution is ever truly possible.
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