Washington Post's Scores

For 9,892 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 A Beautiful Day in the Neighborhood
Lowest review score: 0 Who's Your Caddy?
Score distribution:
9892 movie reviews
  1. Fans of the director may be a little mystified by what at first seems like something of a commercial sellout, by a director known for more challenging material. And indeed, The Whistlers has more than enough sex and violence to satisfy the average action movie fan. But dig a bit deeper, and you’ll find a mother lode of meaning just below the surface.
  2. A clever slice of regional noir that carries a gale-force punch beneath its modest, soft-spoken trappings.
  3. For many, the story will pose an insurmountable challenge to even enjoy. But enjoyment it seems, is not Potter’s point. Yes, it is an unvarnished portrait of a mind breaking into fragments. Yet it is more than that, too.
  4. A sort of “Me, God and the Dying Girl,” the movie is well-made (if slow) and features an attractive cast and a lot of amiable (if bland) religious pop-rock.
  5. Bennett claims her own form of autonomy with the movie itself, which could be read as an actress’s decision to stop hoping for good scripts to arrive over the transom and make her own luck.
  6. We might go into a Kelly Reichardt movie thinking we’ll be told a story, but we emerge with our consciousness subtly and radically altered.
  7. A movie straining so hard to be edgily of-the-moment that it can’t help but be utterly irrelevant, strives to impress viewers with sadistic killings, oozing viscera and extravagant gushers of blood. But its most dramatic spectacle might be the sight of a facile, lazy enterprise being hoist on its own cynical petard.
  8. The movie is presented as the story of a man who hasn’t figured out who he is yet. But that’s not quite right. Instead, it’s a movie that doesn’t seem to know what it wants to be when it grows up.
    • 79 Metascore
    • 75 Critic Score
    A charming, nuanced story with plenty to say about making just that sort of superficial judgment and about what people are actually going through beneath their carefully crafted appearances.
  9. A mostly smart and sexy crime drama, even if it loses steam by the time the ridiculous ending rolls around.
  10. Overlong and overstuffed with Southern rock and blues numbers, Burden is not exemplary filmmaking. But for viewers who can endure another spin through white-supremacist malice and ignorance, Hedlund and Riseborough make it a compelling ride.
  11. A handsome-looking if occasionally dull affair.
  12. Onward is ultimately a trip worth taking.
  13. What ensues in Corpus Christi, Jan Komasa’s absorbing and spiritually attuned drama, turns out to be a fascinating exercise in fake-it-till-you-make-it, with a hefty dose of fatalism and small-town hypocrisy thrown in for maximum provocation.
  14. A slight, yet inoffensive tale, inspiring little more than a shrug, thereby making it hard to either wholeheartedly endorse or strongly criticize.
  15. The comedian’s wryly clownish antics as the preening, not-especially bright owner of several fast-fashion stores are in service of a story that feels sloppy and overly broad.
  16. That’s the real, and somewhat obvious, lesson here, in a lovely yet flawed confection that might be summed up by two words: beautiful nonsense.
  17. It’s just a giant missed opportunity to be something more.
  18. A delicious slow-burn of a movie, the kind of coming-of-age tale that looks familiar on the surface only to reveal hidden depths of beauty and meaning.
  19. It’s a more than serviceable pleasure, for fans of Austen’s 19th-century comedy of manners and romantic misunderstanding.
  20. Once Were Brothers is enormously valuable, if only as a reminder of what an extraordinary run this extraordinary convergence of talents enjoyed until their final show on Thanksgiving Day in 1976 (meticulously captured by Scorsese in the magnificent documentary “The Last Waltz”).
  21. The Lodge isn’t a perfect treat. But for those who like their movies dark and disturbing, it does the trick.
  22. In Akin’s capable hands, And Then We Danced becomes an affecting testament to heartbreak, resilience and emotional expression at its most liberated and life-affirming.
    • 84 Metascore
    • 75 Critic Score
    A mostly empathetic tale of war’s cruelty as it affects both those who fight and those who merely look on. That empathy is conveyed through haunting performances, stunning direction and a sense of detail that elevates it beyond standard historical drama.
  23. The point being: Even when questions of life and death loom large, someone still has to make dinner. That observation doesn’t make Ordinary Love a major motion picture event. But it does, in its own quiet, wise way, nudge it just a little bit closer to the extraordinary.
    • 47 Metascore
    • 50 Critic Score
    Stands out for its earnest effort to entertain without commenting on itself or the modern world.
  24. In the end, “Sonic” is quippy without being mean, and sweet without being sappy, making this a trip that’s well worth taking.
  25. It isn’t great. It’s a watered-down version of the original, but it’s still pretty good: neither wise nor profound, yet sometimes smart and with sharp elbows — especially if you have nothing with which to compare it.
  26. What She Said pays fitting homage, not just to a great writer but to a vanished age.
  27. True to its title, Portrait of a Lady on Fire generates more than its share of heat, even if it never truly becomes an engulfing flame.

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