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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    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    The Monkey
    It’s a fun movie to see with a rip-roaring midnight crowd; watched on its own, it’s a little depressing. You can only shock the monkey so many times before the shock wears off.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Armand
    It’s as a satiric bourgeois psychodrama that “Armand” works best and reveals its genetic heritage to the works of Bergman and Ullmann (the latter no slouch as a director herself).
  3. Parthenope
    If “Parthenope” is a love letter to his hometown and its subject an embodiment of the city’s idiosyncrasies and contradictions — beauty and decay, religion and hypocrisy — the whole thing comes across like a deranged mash note, more off-putting than seductive.
  4. Bridget Jones: Mad About the Boy
    It’s an affectionate finale for the character, crafted with such care — from Molly Emma Rowe’s costumes to Kave Quinn’s thoughtful production design to those signature needle drops, monologues and Bridget-isms — it’s a shame “Mad About the Boy” isn’t opening in U.S. theaters.
    • 65 Metascore
    • 75 Critic Score
    Paddington In Peru
    Whether Whishaw’s version of the famous-blue-raincoated furry Londoner returns or he doesn’t, no one can deny that “Paddington in Peru” is smarter than your average bear movie.
    • 42 Metascore
    • 37 Reviewed by
      Ty Burr
    Captain America: Brave New World
    If you’ve been committed to the MCU over all these years and iterations, you may find the new movie an acceptable entry in a never-ending saga. I say it’s spinach, and I say the hell with it.
    • 34 Metascore
    • 37 Critic Score
    Love Hurts
    With Love Hurts, 87North has gone farther south than ever, churning out a muddled, mean-spirited action comedy that manages to feel slack and listless despite a flyweight run time of only 83 minutes.
    • 74 Metascore
    • 88 Reviewed by
      Ty Burr
    Porcelain War
    Porcelain War is a testament to how life’s beauty — all the world’s fertility an artist is trained to see — endures among privation and death.
    • 93 Metascore
    • 100 Reviewed by
      Ty Burr
    No Other Land
    No Other Land, the Oscar-nominated documentary (and odds-on favorite to win), is the record of an atrocity: the erasure of a people from the land on which they’ve lived for centuries.
  10. Heart Eyes
    As the tropes pile up faster than tears in a Nicholas Sparks novel, so do the bodies, dispatched in increasingly inventive and grisly ways.
  11. The Girl with the Needle
    An Oscar nominee for best international feature, Denmark’s harrowing, slow-boil thriller “The Girl With the Needle” has been described by some as a horror film. And from the hallucinatory opening montage of distorted, leering faces, this black-and-white drama promises to be the stuff of nightmares.
    • 66 Metascore
    • 75 Critic Score
    Dog Man
    Screenwriter-director Peter Hastings — who also voices Dog Man’s barks, woofs, howls and assorted canine musings — has shoehorned a streaming season’s worth of plot into this sub-90-minute enterprise, and its caffeinated tempo makes “Moana 2” feel like a Terrence Malick joint.
  13. You're Cordially Invited
    Destined to be forgotten in the wasteland that stretches between the actor’s best work and his worst, this dumb-but-not-dumb-enough, simultaneously heartwarming and disheartening film features layer upon layer of wedding-disaster clichés (complete with a trashed cake).
    • 85 Metascore
    • 100 Reviewed by
      Ty Burr
    I'm Still Here
    Walter Salles’s I’m Still Here is an epic within an epic: a teeming family drama contained within the melodrama of a country going insane.
    • 77 Metascore
    • 88 Reviewed by
      Ty Burr
    Presence
    Best of all, “Presence” is short and sure of itself, a tidy 84 minutes that explore a fraying family dynamic as observed by the household poltergeist.
    • 46 Metascore
    • 50 Reviewed by
      Ty Burr
    Back in Action
    There’s just enough bite there to give the stars something to work with, and Diaz especially responds with the joy of the well-rested.
    • 50 Metascore
    • 63 Reviewed by
      Ty Burr
    Wolf Man
    The special effects, when they kick in, are impressive, and the gore hounds in the audience will eventually get their gobbets of flesh, but the messaging of “Wolf Man” is so muddy that it’s not clear what the movie’s trying to say.
    • 64 Metascore
    • 37 Critic Score
    Unstoppable
    Between its verisimilitude-killing caricatures and hand-waving montages, “Unstoppable” is all too easy to pin down as a by-the-numbers misfire.
    • 77 Metascore
    • 88 Critic Score
    Better Man
    Better Man, a delightfully unhinged musical biopic from director Michael Gracey, chronicles the singer’s tumultuous rise, celebrates his effervescent body of Brit-pop hits, and gives the project of ensconcing Williams in the hearts and minds of the global masses another go.
    • 88 Metascore
    • 100 Reviewed by
      Ty Burr
    Hard Truths
    Where some Leigh films bear down on their main characters, “Hard Truths” feels expansive and forgiving, except when it comes to the mystery of Pansy herself.
  21. The Last Showgirl
    Anderson is radiant playing this daffy optimist who rambles in breathy clips about past glories, as if the world around her hasn’t moved on since the days of Siegfried & Roy.
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    The Room Next Door
    In any event, from whatever impulse, [Almodóvar] has given us a movie that is both an uneasy tribute to exiting with grace and a rationale for sticking around for one more movie, one more meal — one more day with the door open.
    • 76 Metascore
    • 75 Reviewed by
      Ty Burr
    September 5
    September 5 is an exciting, well-made, thought-provoking movie. Sadly, it couldn’t matter less to where we are now.
    • 91 Metascore
    • 75 Reviewed by
      Ty Burr
    The Brutalist
    Maybe it’s too early in his career for Corbet to reach for a ring this big and this brassy. Yet “The Brutalist” earns its weight in the telling, if not in cumulative impact or meaning.
    • 91 Metascore
    • 100 Reviewed by
      Ty Burr
    Nickel Boys
    It is one of the most visually and sonically gorgeous movies of the year, and it is also a tragedy that left me weeping for two men, this country and the world.
    • 84 Metascore
    • 88 Reviewed by
      Ty Burr
    The Seed of the Sacred Fig
    At times heavy-handed in its symbolism, “Seed” is still a gripping, provocative knockout — a domestic political thriller — that hints at the limits of oppression and the long, long bending of Martin Luther King Jr.’s “moral arc.”
    • 70 Metascore
    • 75 Reviewed by
      Ty Burr
    A Complete Unknown
    A Complete Unknown just tells the story. But maybe that’s enough for a fresh generation to feel the joy of his apostasy at a moment when the world seems once more poised on a precipice of chicanery, treachery and disaster. If so, well, how does it feel?
    • 76 Metascore
    • 75 Critic Score
    The Fire Inside
    Ryan Destiny’s performance as Shields is persuasive and commanding.
    • 79 Metascore
    • 75 Reviewed by
      Ty Burr
    Babygirl
    The more interesting drama of Babygirl is watching Romy and Samuel try to figure out what they can get away with under the watchful eyes of her family, her human resources department, her ambitious office underling Esme (a terrific Sophie Wilde) and, more importantly, with each other.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    Nosferatu
    “Nosferatu” haunts as you watch it and vanishes when the lights come up, leaving a viewer shaken but not stirred. Still: Fangs for the memories.
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