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. The Magnificent Seven
    The Magnificent Seven is fine as far as it goes, but — especially when the familiar strains of the 1960 theme song begin wafting over the final scenes — one can’t help feeling that it should have gone much further.
  2. The Beatles: Eight Days a Week - The Touring Years
    There are no huge revelations here — certainly nothing that would shock superfans. The movie offers a taste of the go-go-go pace of touring the world, which led to exhaustion and frustration, but mostly focuses on the happier times.
  3. Blair Witch
    Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
  4. Bridget Jones's Baby
    Even considering its optimistic, open-ended conclusion, Bridget Jones’s Baby feels like an affectionate, slightly overdue goodbye to characters whose time has inevitably passed.
  5. Demon
    Demon is not a horror film, exactly, although it can prove disturbing. Wrona jumbles several genres together, including dark comedy, to illuminate larger, more ambitious themes.
  6. Kicks
    Kicks is gritty to the core, and its commitment to verisimilitude is its undoing. All of the characters are selfish, and their sense of loyalty is purely circumstantial.
  7. London Road
    London Road comes across as no more than tabloid karaoke.
  8. Max Rose
    Max Rose seems to come from someplace personal, but its pain feels dialed down a notch to make it easier to digest. Still, the movie gains resonance from its look at what may be the final years of a movie legend.
  9. Mr. Church
    Murphy is fine as the title character, although his performance consists mostly of suppressing all of his usual shtick. He certainly doesn’t endow Mr. Church with any unexpected depths. But then neither does the script.
  10. Snowden
    Regardless of how they feel about the main character, most viewers are likely to leave the theater reminded of Stone’s instinctive brilliance as a filmmaker — his grasp of visual language not just to tell a story but to expose its essential emotional core.
  11. Author: The JT LeRoy Story
    We get Albert’s side of the story, and that’s clearly problematic. How much faith should we put in the account of someone who tells such massive whoppers? That question constantly hovers over Jeff Feuerzeig’s documentary, which is by turns fascinating and unseemly.
  12. The Wild Life
    A few minutes of excitement can’t compensate for an hour and a half of unimaginative storytelling and dull characters.
  13. White Girl
    White Girl vividly charts what is at times a violent culture clash. But it is the young lovers’ desperate attempt to bridge the gap between their worlds that makes the film so deeply moving.
  14. Other People
    All of the actors are pitch-perfect.
  15. Sully
    Sully is a classy, enormously satisfying ode to simple competence. To paraphrase the title character, it’s just a movie doing its job. And amen to that.
  16. The 9th Life of Louis Drax
    Unfortunately, this film’s dark premise is drowned in whimsy and a forced childlike wonder.
  17. Starving the Beast
    Starving the Beast is still a worthwhile documentary.
  18. In Order of Disappearance
    At times, In Order of Disappearance is a bit too self-consciously clever. But what saves it, paradoxically — even, at times, delightfully — from skidding off course into cliche is the profound appeal of its middle-of-the-road, but never dull, protagonist.
  19. Disorder
    Disorder is, in other words, more of a technical achievement than an artistic one. The movie is at its best when it recreates what it must feel like to be in a constant state of paranoia and pain. If only that feeling were accompanied by one or two other emotions.
  20. Complete Unknown
    Even if it’s not quite as thrilling as it first seems, Complete Unknown poses questions that practically beg for animated conversation about the fantasy of leaving it all behind — and what that might look like if someone actually did it, again and again.
  21. The Hollars
    The Hollars drives inexorably to a conclusion that feels as manipulatively mawkish as it is impossibly tidy, typical of a genre that too often tries to have it both ways. It turns out that happy families are all alike, even when they’re a little bit sad.
  22. Morgan
    In order for the trick of the film to work, however, one must hold Morgan to a standard that the movie is unlikely to live up to.
  23. The Light Between Oceans
    Nominally, The Light Between Oceans refers to the beacon’s location at the geographic point where the Indian and Pacific meet, but it could just as easily be a hint at the salty tears it’s been so carefully manufactured to induce. Ladies and gentlemen, let your hankies unfurl.
  24. My King
    My King brims with intimate details, adding to a sense of authenticity that is rarely found in films.
  25. Mia Madre
    Moretti mostly avoids weepy melodrama, choosing instead to focus on a side meditation about the slippery nature of reality.
  26. Ixcanul
    Ixcanul is, among other things, a movie about the resilience and savvy of women who are continually disparaged by their cultures.
    • 55 Metascore
    • 37 Critic Score
    A Tale of Love and Darkness
    Unfortunately, darkness seems to have prevailed over love in a tale that falls flat.
  28. Morris from America
    If the film’s pace is sometimes as awkward as its hero, and the story a little thin, it still brims with authentic life and affection for the characters (even the dubiously attentive Katrin).
  29. Hands of Stone
    The drama stars Edgar Ramírez as Roberto and Robert De Niro as his legendary coach. The two are exceptionally well cast, but they can’t save an unfocused jumble of a movie that doubles as a cautionary tale about the importance of film editing.
  30. Southside with You
    Like the warm summer day it chronicles, Southside With You possesses a mellow, languorous vibe, an infectious easygoing charm that insinuates itself gently, then seductively, as the couple at its center experiences the stirrings of what might be true love.
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