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. Don't Breathe
    Despite the violence, the real horror of Don’t Breathe may be the sense of futility that all its characters feel, whether they can see or not.
  2. Lo and Behold: Reveries of the Connected World
    Thoughtful, searching and wonderfully moving in its wistful final moments, Lo and Behold may not be Herzog’s most artistically ambitious film, but it’s an intriguing, even important one nonetheless.
  3. Kubo and the Two Strings
    "Kubo" is both extraordinarily original and extraordinarily complex.
  4. War Dogs
    War Dogs stays at arm’s length from the subjects, afraid to implicate us in the pleasures and prosperity of their rise, thus making their fall seem distant, puny and unaffecting.
  5. Ben-Hur
    Bekmambetov and Co. have created a redesigned product that is at once inferior to the original and a slavish imitation.
    • 59 Metascore
    • 100 Critic Score
    Anthropoid
    Aided by co-screenwriter Anthony Frewin, Ellis takes his time in this slow-burning thriller, which often feels more like a character study.
  7. Equity
    Equity isn’t perfect — far from it — but it’s an intriguing attempt at rebalancing a system that’s been dreadfully out of whack for far too long.
  8. Florence Foster Jenkins
    Florence Foster Jenkins brims with love for its characters and forbearance for even their most blinkered self-deception.
  9. Hell or High Water
    In a word, Hell or High Water is terrific.
  10. Little Men
    With a firm grasp on the duality implicit in its title, Little Men is a story that’s neither tragic nor triumphal in the way it resolves itself, but rather one that’s sadly, even satisfyingly true.
  11. Miss Sharon Jones!
    What makes Miss Sharon Jones most captivating is how its subject, in spite of hardship, remains a magnetic stage presence.
  12. Pete's Dragon
    Despite the vastly improved visuals, the new film is just as soft-hearted — and, unfortunately, just as mush-headed — as the earlier one.
  13. Ghost Team
    Ghost Team should have spent more time with its big-hearted living characters instead of chasing after dead ones.
  14. Operation Chromite
    Director John H. Lee isn’t big on John Le Carré-style intrigue and introspection. (The dialogue comes in only two flavors: blustering and sentimental.) He’s better at the shootouts and chase scenes, which are loud, lively and well-choreographed, if sometimes outlandish.
  15. Gleason
    Gleason portrays great strength and great suffering in equal measure, lending vivid credence to tired platitudes about what it means to live life to the fullest.
  16. Indignation
    The beauty of Indignation can be found in how it builds, growing from a garden-variety coming-of-age story into a poetic, even prayerful, meditation on the pitiless vagaries of character and regret. Thoughtful and reserved, perhaps even to a fault, Indignation winds up packing a wallop far greater than its modest parts might suggest.
  17. Don't Think Twice
    There’s nothing wrong with tackling romantic miscommunication, but Birbiglia’s script leaves little room for surprise or depth. Paradoxically, Don’t Think Twice feels both dramatically thin and overstuffed.
  18. Suicide Squad
    Sadly, Suicide Squad feels like a watered-down version of what could have been a stiff drink.
  19. Phantom Boy
    There’s an appealing quaintness to the storytelling that calls to mind the Tintin books of the artist and writer Hergé, especially that series’s old-world charm.
  20. The Kind Words
    At times, the film seems pat in its portrayal of modern Judaism struggling to maintain tradition in a changing world. Tonal shifts are problematic, with a maudlin score that evokes television melodrama giving way to quirky, sped-up sequences that treat family drama as light hijinks.
  21. Nerve
    Nerve is exciting, topical and potentially prescient, but it scores no points for character development, and the plot holes are so big that you could, well, drive a speeding motorcycle through them.
  22. Jason Bourne
    Jason Bourne belongs to Damon and Greengrass, whose admirable — and entirely appropriate — goal of playing it for kicks comes across, this time around, as an oddly joyless chore.
  23. Bad Moms
    The comedy sails along, thanks to its charismatic leads.
  24. Ice Age: Collision Course
    Lazy, scattershot and excruciatingly unfunny, the movie is a hazard to the very young, who might come away with the erroneous impression that movies don’t get any better than this.
  25. Star Trek Beyond
    It may not boldly go where no “Star Trek” film has gone before, but it gets there at warp speed, and with a full tank of fresh ideas.
  26. Norman Lear: Just Another Version of You
    Ewing and Grady insert vignettes featuring a young actor playing Lear as a 9-year-old, wandering an empty theater and trying on his analog’s signature white hat. The conceit might have sounded artful on paper, but it doesn’t work on film.
  27. Hillary's America: The Secret History of the Democratic Party
    D’Souza may wish to tilt the election, but he’ll be lucky if his fans can make it through his film without falling asleep.
  28. Equals
    More mood piece than drama, Equals ultimately benefits from the scarcity of exposition, because the story’s details make little sense.
  29. Café Society
    Its arresting visual design aside, Cafe Society is upper-middle-late-period Allen, a modestly diverting ditty that will never go down as one of his greats. (But, as most can agree, Allen at his most middling is still better than many hacks at their best.)
  30. Absolutely Fabulous: The Movie
    The movie turns what was once antic into something closer to manic. With a throwaway plot and a parade of weird characters, the comedy tries to be bigger, bolder and more outrageous than the television series, but it ends up being a lot less funny.
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