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. Mother's Day
    Despite an army of appealing actors in its large ensemble cast, the rom-com Mother’s Day is startlingly unappealing. Clumsily edited and culturally tone deaf, it’s more obsessed with the titular holiday than even most mothers would find reasonable.
  2. Sold
    Sold is maudlin in a way that makes its audience, paradoxically, feel good, albeit superficially. A story of human trafficking should move us on a deeper, more uncomfortable level.
  3. Sing Street
    Warm, ingratiating, with a beat you can dance to, Sing Street is a feel-good movie that never demands to be liked. Instead it asks, politely and irresistibly.
  4. Rio, I Love You
    There are more than 6 million potential love stories in Rio de Janeiro. Unfortunately, none of the 10 that have been assembled in the anthology film Rio, I Love You is any good.
  5. Nina
    Nina filters the singer’s voice — and her life — through tinny-sounding speakers and an out-of-focus lens.
  6. Louder Than Bombs
    Along with his regular co-writer Eskil Vogt, Trier has crafted a profoundly beautiful and strange meditation on secrets, lies, dreams, memories and misunderstanding.
  7. The Invitation
    The filmmakers keep trying to make Will appear paranoid, but he’s not fooled for long — and most viewers won’t be, either.
    • 35 Metascore
    • 50 Critic Score
    The Huntsman: Winter's War
    While the funny, action-packed sequences are the best parts, they are indicative of the film’s main problems: an inability to focus and an overly complicated plot.
  9. A Hologram for the King
    It’s that rare fish-out-of-water story in which the fish miraculously manages to stop needing water, and learns to crave air instead.
  10. Green Room
    Aficionados of gore and guts may not mind the comfortably lived-in feel of this blood-spattered Green Room. But anyone looking for the ferocious originality, and unexpected humanity, of “Blue Ruin” will be disappointed by Saulnier’s uninspired cover version of a song we all know.
  11. Elvis & Nixon
    Elvis & Nixon makes for a diverting, often absurdly funny double portrait of two men engulfed by changes they can’t fathom, much less accept.
  12. New York New York
    The thing that really doesn’t translate is the movie’s melodramatic sensibility. What New York New York presents as profound tragedy may strike non-Chinese viewers as simple bad timing.
  13. The First Monday in May
    The First Monday in May isn’t a deep examination of its subjects, but at least it’s breathtaking to look at.
  14. The Dark Horse
    Despite its familiar, come-from-behind contours, the story brims with redemptive optimism that it comes by honestly, thanks to its extraordinary main character and the equally remarkable actor who plays him.
  15. Colonia
    Although genuinely gripping — at times, uncomfortably so — the tale of Lena and Daniel’s efforts to escape from Colonia and expose its abuses suffers from a heavy-handed telling.
  16. Criminal
    Like its brain-damaged protagonist, Criminal just shouts and shoots its way into, not out of, an oblivion of illogic, plot holes and emotionally unengaging scenery-chewing.
  17. The Jungle Book
    Filmed with dynamism and propulsive, energetic flair, The Jungle Book allows viewers the vicarious pleasure of sidling up to magnificent (sometimes mangy) beasts as if they were household pets.
  18. Barbershop: The Next Cut
    If “Chi-Raq” aimed to shock us out of complacency, “The Next Cut” creates a more welcoming groove, encouraging greater openness to outside perspectives.
  19. April and the Extraordinary World
    In truth, the story is practically beside the point with all the spectacular visuals. The steampunk aesthetic might be overdone, but there’s still a lot here worth marveling at.
  20. Standing Tall
    Standing Tall is indeed tough going, yet it’s illuminating and ultimately even a bit hopeful.
    • 57 Metascore
    • 75 Critic Score
    One More Time
    Robert Edwards, the writer and director, explores the layers of melancholy contained within these familiar but authentically drawn characters, and he cleverly doles out virtue and vice to each while weaving in acid humor borne from regret.
  22. Mr. Right
    The film’s likeable leads almost carry off a dark premise: that the love that strengthens this couple also makes them dangerous.
  23. Miles Ahead
    The story can shift from uproarious to heartbreaking in the span of a scene, but Cheadle, in his feature directorial debut, controls the tone like a veteran.
  24. Hardcore Henry
    The sense of goofy, if gory, good humor [Copley] brings to Hardcore Henry goes a long way toward mitigating the film’s tedious barbarity.
  25. Demolition
    The oddball grief drama Demolition proves that an actor who could easily be dismissed as just another watchable face is actually possessed of subtle, fascinatingly protean chops.
  26. The Boss
    Although her charisma is still undeniable, there’s also no denying that McCarthy is capable of much more than she’s allowing herself to do here. There comes a point when every force of nature starts to look just plain forced.
  27. Chongqing Hot Pot
    Although its final act is brutal, this Chinese crime drama also has elements of farce and romance.
  28. Born to be Blue
    As the film progresses, its visual resonance with the iconic photographs of Baker feels more organic and less forced. By the final act, it’s chilling how much Hawke has transformed into the late-career musician, looking aged well beyond his years.
  29. I Saw the Light
    I Saw the Light isn’t just incohesive, but ultimately — and far more frustratingly — incoherent.
  30. Midnight Special
    Nichols establishes such a grounded sense of atmosphere and such superb control of mood and pacing, that the odd hiccup barely matters.
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