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. Ant-Man
    The second half of this nearly two-hour film is a pure delight — fast-paced and funny and filled with special effects and humor as great as any recent Marvel movie, with the possible exception of “Guardians of the Galaxy.”
  2. The Tribe
    What makes The Tribe unforgettable is the filmmaker’s attention to composition and staging, with camera work by cinematographer Valentyn Vasyanovych that goes from implacable stasis to poetic fluidity with seamless, expressive ease.
  3. Batkid Begins
    Batkid would be easier to swallow if it focused less on self-congratulation than on the epidemic of unselfishness that inspired the magic in the first place.
  4. Strangerland
    It’s hard to get over the movie’s haunting atmosphere. It may be just another story of kids in peril, but this one’s particularly hard to shake.
  5. Tap World
    The movie is at its best when Hargrove shows rather than tells. Anyone can appreciate these artists in motion, all of whom prove the infectious appeal of a dance that doesn’t just respond to rhythm but creates its own.
  6. Cartel Land
    Cartel Land reveals a culture that spans the border, full of death and dismaying behavior on both sides, but thriving all the same.
  7. Jimmy's Hall
    In many ways, Jimmy’s Hall shows what the pursuit of happiness can look like, and why it’s worth a revolution to protect it.
  8. Manglehorn
    Sure, there’s an undeniable pleasure from watching Pacino and Hunter work the screen, but the syrupy, symbol-heavy script by first-time feature writer Paul Logan is weighed down further by cliches and false notes.
  9. Rebels of the Neon God
    Rebels of the Neon God rarely cracks a smile, but it’s as droll as it is disaffected.
  10. Self/less
    Self/less bears not a trace of Singh’s signature visual richness, quickly devolving into a tiresome game of cat and mouse, padded with cliched fight scenes, car chases and shootouts.
  11. Amy
    [A] sensitive, superbly constructed, ultimately shattering documentary.
  12. Minions
    I, too, once enjoyed the Minions, in the small doses that they came in. But the extra-strength Minions is, for better or for worse, too much of a good thing.
  13. The New Rijksmuseum
    Artful yet agonizingly unhurried at times.
  14. 3 1/2 Minutes, 10 Bullets
    A deep core of emotion gives 3  1/2 Minutes, Ten Bullets its ballast, but Silver, who also serves as cinematographer, infuses the production with simple, elegant sophistication.
  15. Magic Mike XXL
    Magic Mike XXL tries mightily — if unsuccessfully — to match its predecessor’s stature as a camp classic, the epitome of trashy summer fun for the whole pansexual, polymorphously perverse, omni-libidinous family.
  16. Terminator Genisys
    Genisys goes back to what made the franchise work in the first place: not the machine inside the man, but vice versa.
  17. Fresh Dressed
    The film doesn’t always dig deeply, glossing over why certain trends have emerged. And some of the interviews don’t add much to the movie beyond star power. Fresh Dressed nevertheless offers an original and worthwhile look at the history of hip-hop style. And the soundtrack doesn’t hurt either.
  18. Infinitely Polar Bear
    What Polar Bear really lacks is hindsight. It is a little girl’s valentine to her father, without the benefit of bittersweet wisdom that comes with age.
  19. A Little Chaos
    Though it purports to be about the delights of disorder, “A Little Chaos” feels like yet another by-the-book period romance, only without the genre’s requisite spark between the main characters.
  20. Ted 2
    As he proved with his misbegotten A Million Ways to Die in the West, MacFarlane is essentially a guy who’s gotten appallingly lucky on television. He exhibits zero proficiency in cinematic staging and no sense of pace.
  21. The Overnight
    In a way, The Overnight ends just as it’s beginning. But for a brief time, even in the midst of preposterous digressions and full (and not so full) Montys, it offers a compassionate glimpse of people at their most naked, honest and undefended.
  22. Max
    Despite the overplaying, Max gets its job done, which is to celebrate the sacrifices of military dogs, while warming the cockles of your heart.
  23. Every Last Child
    What’s true in Pakistan turns out to be universal: Misconceptions can prove as dangerous as any disease and are even harder to eradicate.
  24. The Yes Men Are Revolting
    Servin and Vamos clearly have a healthy sense of the absurd, which they use, like good satirists, to highlight hypocrisy, greed and corruption.
  25. Dope
    Famuyiwa reminds viewers not to believe — or worse, internalize — the hype, and he provides a great deal of cheeky, infectious fun in the process. Put another way, Dope is the bomb.
  26. The Wolfpack
    More than a testament to the power of cinematic storytelling as food for the human spirit, The Wolfpack also is a portrait of a family that has had to rely on each other to survive.
  27. Inside Out
    This is that rare movie that transcends its role as pure entertainment to become something genuinely cathartic, even therapeutic, giving children a symbolic language with which to manage their unruliest emotions.
  28. The Farewell Party
    Despite its missteps, The Farewell Party feels special in the way it covers the Big Stuff — love, death, friendship, family — without losing its playful streak.
  29. Live From New York!
    Live From New York! is a fun, not academic walk down memory lane.
  30. Heaven Knows What
    What elevates Heaven Knows What above other run-of-the-mill wallows in aimlessness and self-destructive compulsion is Arielle Holmes.
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