Washington Post's Scores

For 8,633 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 4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Peggy Sue Got Married
Lowest review score: 0 The DUFF
Score distribution:
8633 movie reviews
  1. This handsomely staged production plays like a soothingly thoughtful balm.
    • 51 Metascore
    • 37 Critic Score
    Jurassic World: Fallen Kingdom finds another way to grow: by making its plot much, much bulkier. In doing so, it commits the worst possible sin: It makes dinosaurs boring.
  2. Portman, a vegan, is the main tour guide to this challenging excursion to the world of slaughterhouses and CAFOs, which one commentator likens to petri dishes for antibiotic-resistant bacteria.
  3. Ironically, the film is conspicuous not for its brio but its blandness.
  4. Tag
    The best way to appreciate this fitfully funny collection of japes and jests is to treat it like any teenage boy in your midst: Focus on the positives and know that even its worst is only a phase.
    • 52 Metascore
    • 50 Critic Score
    Did the original “Super Fly” need to be remade? Not really. The new film is a decent example of the barrage of reboots storming theaters lately, but that’s all it is: decent.
  5. Benefits from a sensitive, even-tempered tone, as well as terrific supporting performances from Spencer, Ann Dowd (as Alex’s status-obsessed mom) and a scene-stealing Amy Landecker, who plays an ambivalent therapy client of Greg’s.
  6. Its smallness is its strength — as is its silence. That’s the odd and evocative resonance of Hearts Beat Loud. For a movie that is so rock-and-roll, it turns out to be less about making noise than about listening to the message that can only be heard in the stillness that comes after the song.
  7. It’s been a long time coming for Incredibles 2, but the punchline is worth the setup.
  8. American Animals, while an entertaining version of a heist film at times, is no “Ocean’s 8.” Its signature moment occurs not during the reenactment of the inept crime, or its planning and antic aftermath. Rather, it comes in the middle of one of Lipka’s interview scenes.
  9. Creepy, creepy, creepy. Writer-director Ari Aster makes an impressively unnerving debut with Hereditary, a meticulously crafted horror thriller.
  10. Neville has created a film that operates both as a dewy-eyed nostalgia trip and stirring appeal for civility.
    • 57 Metascore
    • 50 Critic Score
    Too many subplots make the story feel cluttered and no more intelligent.
  11. Like the gender-flipped “Ghostbusters” before it, this new movie neither reinvents not dishonors its inspiration, instead adding a modicum of zip — if less than turbocharged horsepower — to a vehicle that runs you through the staging of a crime by, ironically, obeying all the traffic laws.
  12. Litte Pink House feels like it’s only ever checking off the requisite moments of civic outrage, while failing to connect with viewers on a level that’s deeper than the average made-for-TV issue-of-the-week movie.
  13. Setting the film in the punk heyday underscores the film’s themes of personal freedom and defying authority. And there are heartwarming touches, despite a plot that is muddied by sci-fi mumbo-jumbo about cannibalism.
  14. Filmworker is a tribute to the unsung artisans, assistants, best boys and girl Fridays whose indelible contributions make movies not just possible, but magical.
  15. At its best, The Gospel According to Andre gives viewers the rare chance to get to know someone who, until now, has mostly been known as that impeccably turned-out gentleman who seems to know everybody at the annual Costume Institute gala.
  16. If this vaguely cyberpunk, occasionally comic Australian flick were named after its own qualities, it would have been called “Knockoff.”
  17. At once ruminative and shocking, godwardly inclined and repellently graphic, First Reformed is indisputably the finest film Schrader has directed since his sensitive adaptation of Russell Banks’s novel “Affliction.”
  18. On Chesil Beach can feel like observing a deli worker slice a small piece of rancid cured meat, in increasingly transparent slivers of prosciutto-like thinness, and then holding them up to the light for inspection.
  19. It transfixes, not with artifice or cheap sentiment, but with a strange alchemy of gloom and light.
  20. Grown-ups might not roll over for Show Dogs, but children almost surely will. With its fart jokes and smart-alecky canines, this talking-animal comedy is aimed at a young audience anyway. For dog-loving adults, well, it’s just engaging enough to make them prick up their ears.
  21. In this stirring portrait, it’s possible to see evangelism not in hectoring words or holier-than-thou bromides, but in loving action. Who wouldn’t say amen to that?
  22. It has brio, rueful humor and celebratory verve that is nearly impossible to resist.
  23. Beast sounds like a straightforward erotic mystery thriller, but that atmosphere is at times overshadowed by Pearce’s exploration of British classism, bullying and bigotry.
  24. There is also something over-intellectualized and bloodless about this version.
  25. Solo: A Star Wars Story gets the job done with little fuss, but also with precious little finesse. It might arguably succeed in teeing up the cinematic narrative that would change movies forever. But in both substance and execution, it bears but a whisper of the revolution to come.
  26. Far from lazy, it is a fairly brilliant sendup of comic-book action movies, as well as also being an excellent example of one.
  27. It’s when the dream of “Annihilation” collides so felicitously with lived reality that the film coalesces and takes hold. It may be broken eventually, but for a while the spell is a powerful one, and nearly irresistible.

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