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. Trophy
    To its credit, Trophy neither shames its subjects nor offers an easy solution. Rather, it takes a reasoned and thought-provoking view — from many angles — of a problem for which there is, as Trophy argues, no quick or simple fix.
  2. Stopping Traffic
    As both a movie and a battle plan for ending the child-sex trade, “Stopping Traffic” is disorganized and incomplete.
    • 52 Metascore
    • 50 Critic Score
    Manolo: The Boy Who Made Shoes for Lizards
    Talking-head interviews interspersed with reenactments reminiscent of cheap true-crime shows are the filmic equivalent of a polo shirt and khakis: blandly acceptable but uninspired.
  4. Victoria and Abdul
    Victoria and Abdul might have aimed for poignancy — and at times it almost strikes that tone — but for the most part, it plays like broadly clownish comedy, treating crusty British prejudice with all the subtlety of “The Benny Hill Show.”
  5. Woodshock
    Defiantly inscrutable, Woodshock can test a viewer’s patience, yet the filmmakers’ consistent self-confidence creates an alluring, oddly hypnotic effect.
  6. American Made
    Liman knows how to keep the convoluted, almost impossibly far-fetched story on the rails, without losing our attention, and he adds many details that will bring a smile.
    • 43 Metascore
    • 50 Critic Score
    Year by the Sea
    Instead of a hearty chowder of emotional highs and lows, first-time director Alexander Janko, who also adapted the script, settles for a diluted, Campbell’s-Soup version of getting one’s groove back.
  8. Two Trains Runnin'
    The movie’s thesis is that the 1960s’ political clashes and cultural revelations were essentially linked, and equally liberating.
  9. The Tiger Hunter
    Thanks to the director Khan — who co-wrote the script and has an obvious fondness for her characters — The Tiger Hunter transcends comic stereotypes. But its predictable success-story arc isn’t entirely convincing.
  10. Shot
    Despite flashes of brilliance, strong performances and innovative camera techniques, the film never rises above the schmaltz of an after-school special.
  11. Birthright: A War Story
    Birthright suggests that the loss of women’s bodily autonomy — via laws limiting access to abortion — is a human rights issue. But it raises the alarm in ways that are as unflashy as they are disturbing.
  12. Brad's Status
    Brad’s Status contains moments of delicate humor.
  13. EX LIBRIS: The New York Public Library
    This is slow, almost languid filmmaking, yet it’s a delight to watch the countless ways in which the library is still capable of lifting us.
  14. Friend Request
    Despite a few well-timed jump scares, Friend Request never really builds much tension.
  15. Stronger
    Stronger isn’t always easy to watch; Jeff makes bad decisions and life gets messy. But it does feel like a realistic depiction of one man’s life.
  16. The LEGO Ninjago Movie
    Lessons will be learned about teamwork and reconciliation, and many jokes will be told along the way. Some of those jokes are pretty funny.
  17. Kingsman: The Golden Circle
    “Kingsman” is essentially a live-action cartoon, one that aims for an audible reaction and little else. That may not be the world’s loftiest goal, but whether it results in a gagging eww or a chuckle, it’s a plan that usually succeeds.
  18. Battle of the Sexes
    A warm, earnestly entertaining film.
  19. The Villainess
    Without a clear narrative, the story recedes in the face of the movie’s stylized violence — which is, admittedly, glorious, even brazen.
    • 81 Metascore
    • 88 Critic Score
    Dolores
    Dolores is a fascinating corrective to 50-plus years of American history. It’s educational, to be sure, but also exhilarating, inspiring and deeply emotional.
  21. School Life
    In tone, School Life feels like a recruiting film for prospective students. It isn’t exactly profound, except perhaps in the way it makes a case for the theory that happiness comes first, and then learning.
  22. Rebel in the Rye
    Writer-director Danny Strong’s feature debut embodies the very phoniness that the author — and his signature character, Holden Caulfield — railed against.
  23. mother!
    Even Lawrence’s magnetic powers can’t keep Mother! from going off the rails, which at first occurs cumulatively, then in a mad rush during the film’s outlandish climax.
  24. Twenty Two
    Chinese director Guo Ke takes a quiet, deliberate approach. That must be partly out of respect for the women and their suffering. It’s also because this meditative film functions as a memorial to the remaining survivors: 22 of them when filming began, and even fewer today.
  25. Viceroy's House
    In the end, Viceroy’s House works, but mainly as a historical refresher on the 70th anniversary of Indian independence. As drama, it’s a reminder that truth is sometimes more affecting than fiction.
  26. California Typewriter
    Although many of its subjects are endearing characters, the film’s scattered approach undermines its point about the simple endurance of an artifact.
  27. Beach Rats
    This very thinly sliced character study of beautiful if benighted adolescence is more a pre-coming-of-age tale, one that takes us close to, but not through, the transformative acquisition of good judgment.
  28. Home Again
    If her career as director somehow doesn’t pan out, Meyers-Shyer would make an excellent fairy godmother.
  29. It
    If it doesn’t rewrite the rules of horror, it calls attention to them, in a manner that is not just flamboyant, but also baroque.
  30. Polina
    As Polina, Shevstova delivers a performance that feels wonderfully unforced, if that’s the right word, in a role that can only be called “driven.” There’s almost an emptiness about her character. Polina’s expression of self is all on the surface — at least initially.
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