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. Super/Man: The Christopher Reeve Story
    Super/Man is a weeper, to be sure, for the reminder it brings to fans that this Man of Steel was only flesh and blood.
    • 64 Metascore
    • 63 Reviewed by
      Ty Burr
    The Apprentice
    It has the era’s soundtrack down, from Studio 54 disco to Suicide’s “Ghost Rider.” But it doesn’t have much of a point.
    • 72 Metascore
    • 75 Reviewed by
      Ty Burr
    The Outrun
    The Outrun is a recovery drama lifted above the genre’s necessary clichés by the star’s prickly, incandescent presence. It’s also boosted by the film’s setting in the stark Orkney Isles in the north of Scotland and by Fingscheidt’s poetic approach to time, place and chronology.
    • 45 Metascore
    • 63 Reviewed by
      Ty Burr
    Joker: Folie à Deux
    With more daring than success, Joker: Folie à Deux says that anyone who takes the Joker for a hero to be emulated is as delusional as Arthur Fleck, and it serves up its comic-book cake at the same time it stuffs it with rat poison.
    • 60 Metascore
    • 75 Reviewed by
      Ty Burr
    Saturday Night
    Saturday Night is as entertaining as a movie can be that has no genuine point beyond nostalgia.
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    A Different Man
    An existential black comedy delivered with flair and a steady gaze — and two remarkable performances at its center — it mucks about in themes of identity and exploitation, perception and personality, fate and foolishness.
    • 85 Metascore
    • 63 Reviewed by
      Ty Burr
    The Wild Robot
    The Wild Robot has reduced a lot of respectable early reviewers to happy tears, and chances are that you and your children will feel the same.
    • 55 Metascore
    • 50 Reviewed by
      Ty Burr
    Megalopolis
    Is “Megalopolis” the movie that Coppola has wanted to make for more than 40 years? Absolutely. Is it an unfashionable ode to optimism and the freedom to create, a vision as generous as it is crazy as it is overflowing with delirious invention? That, too.
  9. Will & Harper
    At times a case study in How to Be an Ally, the film is accessible by intention. Yet it remains raw, vulnerable and joyful, even when things get messy, as it charts a road map to empathy and acceptance — the real destination that awaits at the end of their cross-country odyssey.
    • 60 Metascore
    • 75 Critic Score
    Wolfs
    So Clooney and Pitt’s first outing as scene partners since “Burn After Reading” 16 years ago turns out to be a pleasing, if largely predictable, lupine lark.
    • 74 Metascore
    • 63 Reviewed by
      Ty Burr
    My Old Ass
    As written by Park and performed by Stella and Plaza — both players with crack comic timing — the interplay between the two Elliotts is the best part of “My Old Ass.”
    • 78 Metascore
    • 75 Reviewed by
      Ty Burr
    The Substance
    With wit, style and ruthlessness, Fargeat has made a movie that’s an example of the soulless pop-culture object she’s spoofing.
  13. Transformers One
    It’s not hard to imagine “Transformers One” connecting with preteens whose pubescent bodies can be as unwieldy as Orion’s first, clumsy transformation, with wheels where he expects legs and arms where he expects wheels.
  14. Seeking Mavis Beacon
    When the pair’s natural curiosity and humor seep into the film, their scrappy enthusiasm is infectious.
  15. Look Into My Eyes
    The film stirs the soul less by the magic of ghosts than by the power of human connection.
    • 54 Metascore
    • 75 Reviewed by
      Ty Burr
    The Critic
    At 85, Ian McKellen doesn’t have many performances left in him, so any movie that lets the actor carve ham with such exuberant relish as “The Critic” is worth his time and ours.
  17. Speak No Evil
    Speak No Evil is the rowdiest horror flick in ages, a hilarious and venomous little nasty that cattle-prods the audience to scream everything its lead characters choke down.
  18. The Front Room
    Despite what the singer/actress says, there’s not much to scream, let alone clap, about here.
    • 83 Metascore
    • 100 Reviewed by
      Ty Burr
    His Three Daughters
    The movie’s also a salve to anyone who has watched a parent die and felt panic about everything left unasked and unsaid. It’s a love letter to the siblings who know us too well and not at all. And finally, it’s a profound act of letting go — of resentments and of fear and of the people who stand us on our feet before sending us out into the world.
    • 62 Metascore
    • 63 Reviewed by
      Ty Burr
    Beetlejuice Beetlejuice
    It’s sprightly enough to make a lot of audiences and Warner Bros. bean-counters happy, but it also confirms that one of the most distinct visionaries in American film history has become a corporate repurposing machine. It’s not insane, and that hurts.
    • 43 Metascore
    • 50 Reviewed by
      Ty Burr
    You Gotta Believe
    You Gotta Believe is an entry in the “heartwarming true story” genre, Little League subdivision, and it isn’t bad so much as resolutely average.
  22. Hollywoodgate
    Hollywoodgate is a fascinatingly — and sometimes frustratingly — oblique portrait of a country and its people in the tragic grip of extremism.
    • 52 Metascore
    • 50 Reviewed by
      Ty Burr
    Slingshot
    The tension on the ship keeps accelerating in a straight and dramatically unsurprising line until the final scenes of “Slingshot,” at which point the twists come piling in, one after another, each shocker nullified by the next.
  24. War Game
    As a simultaneously slick and provocative entertainment, “War Game” is chilling and a tad infuriating, offering a white-knuckle ride — “Civil War” for policy wonks — that may feel a bit too fresh in the memory for viewers who are still traumatized by the real thing.
    • 22 Metascore
    • 37 Reviewed by
      Ty Burr
    Reagan
    For a movie about the Great Communicator, “Reagan” communicates surprisingly little.
    • 80 Metascore
    • 88 Critic Score
    Strange Darling
    Although “Strange Darling” dutifully delivers white-knuckle tension and cinematic panache, Mollner’s savvy script also speaks to the unbalanced power dynamic a woman typically accepts when inviting the advances of an unfamiliar man.
    • 83 Metascore
    • 88 Reviewed by
      Ty Burr
    Between the Temples
    It’s a tricky balancing act to find humor in stereotypes while seeing the human beings behind them — affection and a few years of distance can help — but “Between the Temples” walks the tightrope with wobbly yet confident grace.
    • 66 Metascore
    • 50 Reviewed by
      Ty Burr
    Blink Twice
    In sum, the movie’s a passable time-waster, but it might be better — for Kravitz’s filmmaking future and for us — if we just forgot the whole thing.
    • 87 Metascore
    • 88 Reviewed by
      Ty Burr
    Good One
    Good One takes advantage of the summer lushness of the Catskills, Wilson Cameron’s nature-centric cinematography and Celia Hollander’s ruminative acoustic score to cast a spell over its 89 sure-footed minutes.
    • 48 Metascore
    • 50 Reviewed by
      Ty Burr
    Mothers' Instinct
    It’s a critic’s failure to gauge the movie he wishes had been against the movie that is, but in this case the movie that is is disappointingly bloodless, cold rather than chilling, with a payoff that isn’t shocking so much as an admission that we’ve spent 90 minutes we’ll never get back.
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