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. Before I Fall
    This is a movie squarely directed at adolescents in all their untamed desire, outsize emotion and near-bottomless self-obsession. The filmmakers have crafted a canny delivery system for their life lessons, by way of a movie that balances escapism, candor and ethics with admirable aplomb.
  2. Land of Mine
    Both grimly naturalistic and infused with classical values at their most thoughtfully composed, Land of Mine is epic but deeply intimate; elegant but tough.
  3. Logan
    It has, simultaneously, the exhilarating feel of a departure and the finality of a full stop.
  4. Mr. Gaga
    Gaga looks like fun, but the soul-revealing “Mr. Gaga” makes clear the sacrifice Naharin’s dedication has exacted from family and dancers alike.
  5. My Life as a Zucchini
    It may not sound like it, but calling this barely 70-minute Swiss stop-motion film “heavy” — as in substantial and almost swollen with feeling — is a true compliment.
  6. Table 19
    The story takes a couple of sharp turns, ultimately revealing that it isn’t a romantic comedy after all, but a shambling drama with a few mildly amusing pratfalls.
  7. Bitter Harvest
    There ought to be no lack of firepower in telling this shameful tale. Too often, however, Bitter Harvest is guilty of overkill.
    • 78 Metascore
    • 50 Critic Score
    Kedi
    Though pleasant to watch, Torun’s feature debut feels more like a meandering montage than a structured narrative, and it could easily be half as long.
  9. Rock Dog
    Intermittently diverting as it may be, the movie bears all the earmarks of a cobbled-together, made-by-committee product, poorly aimed at its tween-and-younger target audience in look, tone, music and story.
  10. Get Out
    Like all great movies, Get Out faithfully obeys the conventions of its genre — in this case horror films shot through with brutal wit and sharp-eyed allegory — while getting at profound psychic and political realities. The shocks and the laughs are thoroughly entertaining, but it’s the truth of Get Out that’s so real.
  11. A United Kingdom
    Although the relationship lacks a certain fire, the acting is superb.
  12. Fist Fight
    The slapsticky, sight-gag-heavy yukfest, which is filled with the kind of phallic humor you may have sniggered at when you were 16, floats like a dead butterfly and stings like a B-movie.
  13. A Cure for Wellness
    When the climax does come, it arrives with a bra­cing blast of campy absurdity so flamboyantly deviant that it glows with a kind of perverse brilliance. But the setup is starved of logic, the film’s vital oxygen.
  14. I Am Jane Doe
    The documentary I Am Jane Doe is the kind of film that lifts up a rock that’s been sitting in plain sight year after year, with only a heroic few bothering to see the slithering reality underneath.
  15. The LEGO Batman Movie
    Like a miniature universe made entirely of millions of tiny plastic bricks, The Lego Batman Movie looks and feels like it could only have been put together by a roomful of mad geniuses, moving in a ballet of well-choreographed creativity: It’s simultaneously epic and humble.
  16. John Wick: Chapter 2
    It isn’t easy to explain the appeal of the “John Wick” movies, and they are inarguably not for every taste, but there is a purity to them that transcends their barbarity and has something to do with the central character.
  17. The Comedian
    The real problem, when all is said and done, isn’t the movie but the man with the microphone in its spotlight. Despite two comedy consultants who worked on the film, De Niro’s Jackie never comes across as especially funny on stage (or especially likable off).
  18. The Salesman
    If the conceit feels obvious and strained, it still gives Farhadi and his actors ample room to explore the ambiguities of commitment, ethics and revenge in a society where mistrust in public servants runs deep.
  19. They Call Us Monsters
    Even if you agree with the film’s argument that teenagers shouldn’t be locked up for life when there are other ways to save them, “Monsters” doesn’t offer a convincing argument that a screenwriting class is that lifeline.
  20. I Am Not Your Negro
    A brilliant piece of filmic writing, one that bursts with fierce urgency, not just for the long-unresolved history it seeks to confront, but also in its attempt to understand what is happening here, right now.
  21. I Am Michael
    I Am Michael, is an intermittently affecting — but not entirely convincing — conversion story.
  22. The Red Turtle
    If de Wit’s idea of story is sometimes gratingly simplistic and sentimental, there’s no denying its primal classicism, or the seductive pull of sound and image at their most pure and unfussy.
  23. Toni Erdmann
    Toni Erdmann, it turns out, is Hüller’s movie all the way, with her character not just matching wits with the bumptious, often irritating father, but ultimately coming into her own with the genuine feeling he seems determined to deflect.
  24. A Dog's Purpose
    The purpose of A Dog’s Purpose isn’t to solve philosophical riddles but to warm the cockles of dog lovers’ hearts. That, it does — as well as a wet kiss from a slobbery tongue can.
  25. Gold
    The most ironic thing about Gold is this: For all its efforts, the movie seems to know it’s sitting on a gold mine of a backstory, but it just can’t figure out how to get the stuff out of the ground.
  26. The Founder
    In the end, The Founder is little more than a deflating reminder, as if we needed one, that the winner takes all, and integrity isn’t always the key to success.
  27. Split
    For all the outrageousness of Kevin’s alters, the movie falls oddly flat: less tantalizingly enigmatic “et cetera” than “blah blah blah.”
  28. Patriots Day
    After dispensing with the sluggish setup of the film’s first act, Berg shifts into high gear, powerfully evoking the feelings of dread and white-knuckle excitement that much of America no doubt felt as the manhunt progressed.
  29. Monster Trucks
    The idea is unabashedly silly, yet Monster Trucks is more involving than it sounds. Characters and conflicts are sharply defined, and director Chris Wedge handles the action with clarity.
  30. Live by Night
    The visual and performative elements are polished enough in Live by Night, but it lacks any sense of urgency.
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