Washington Post's Scores

For 8,787 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 4.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Julieta
Lowest review score: 0 Chasing Amy
Score distribution:
8787 movie reviews
  1. If Bowers’s present-day life has slowed down considerably, his memories haven’t, and the subject of Scotty and the Secret History of Hollywood exerts his luridly voyeuristic pull, as he shares name after name of his most shocking exploits.
  2. Sweet, strange and at times slightly scary.
  3. Too clever for its own good.
  4. Like the finest forebears of the rom-com genre — including its urtext, “Four Weddings and a Funeral” — Crazy Rich Asians indulges in the escapist pleasures of aspirational wealth, obscene consumerism and invidious judge-iness.
    • 47 Metascore
    • 63 Critic Score
    As a cinematic mutt, it possesses a certain scruffy charm, as long as you’re in the mood to forgive its lapses.
  5. Unlike his action-movie rival Johnson, Statham does not have the charisma to carry this film. He gets the job done all right, but makes it feel more like work than play.
  6. The film is at its best when evoking the painful labor of adolescent self-discovery, a process — as rendered here — that is not unlike a butterfly struggling to emerge from a chrysalis.
  7. Accompanied by an expressively lush jazz-blues score by Lee’s regular composer Terence Blanchard, BlacKkKlansman announces from the jump that viewers are in for a lush, sensory treat as Lee plays with the film vernacular he’s manipulated so adroitly and expressively for three decades.
  8. The film is pretty conventional Disney fare: silly, slapsticky, all-too-neatly wrapped up and punctuated by a surfeit of poignant moments.
    • 51 Metascore
    • 50 Critic Score
    Your mission, should you choose to accept it: Laugh a little bit, but prepare to be overwhelmed a lot.
  9. One of the great gifts of Far From the Tree is simple visibility, whereby viewers are given the opportunity to watch people live their lives, share their wisdom and flourish within the loving care of their family and friends.
  10. In Puzzle, Macdonald has finally found a movie that she doesn’t need to steal, because it belongs to her completely.
  11. McQueen makes the case that its subject was an artist whose clay was clothing. It also, despite giving short shrift to psychoanalysis, reminds us that everything you might want to know about the artist can be found in the art.
  12. Vreeland’s film, for the most part, is structured around spoken passages from Beaton’s voluminous diaries, which are read, expressively, by Rupert Everett. The actor ably channels the persona of the self-described “rabid aesthete.”
  13. Meaty interviews with journalist Chris Hedges, for instance, lend the film needed context and a sense of intellectual detachment.
  14. Even its most irritating parts don’t fatally damage a whole that works amazingly well, despite its own excesses.
  15. It’s purely unintentional, but the little numeral dangling, like a broken, mangled finger, from the end of the title of The Equalizer 2 signals more than the fact that this is a sequel to the 2014 action thriller about a violent vigilante. It also lets you know that there are two, and only two, pleasures to be had here.
  16. Thanks to Burnham’s exuberant, alert writing and Fisher’s masterful command of vulnerability, anxiety, resilience and steadfast self-belief, Kayla emerges as an icon of her own — just by being herself.
  17. The best films teach you how to watch them within the first few minutes. Blindspotting is no exception. The film gets off to an exhilarating start, with split-screen images of Oakland, Calif., unspooling to the tune of a soaring aria.
  18. Uplift winds up getting the better of “Don’t Worry,” in which Phoenix delivers an impressively committed performance that nonetheless can’t overcome the movie’s worship of Callahan’s most immature, solipsistic and self-dramatizing foibles. A movie that’s supposed to inspire winds up being irritating instead.
    • 60 Metascore
    • 25 Critic Score
    Its exuberant, enthusiastic energy seems to belong in an entirely different movie.
  19. As Ravel puts it, the disproportionate influence of money on elections isn’t a Democratic or Republican problem, but a “gateway issue to every other issue you might care about.” Dark Money makes the case, as well as any film can, that she’s pretty much right on the money.
  20. There are few surprises delivered in Skyscraper, an entertaining if middlebrow thriller whose very name — blandly descriptive, generic — seems to advertise its fungibility.
  21. It’s one that speaks not just to Presley’s (and, arguably, America’s) fall from grace, but to the imperfections — and, yes, the lofty ambitions — of this strange, in some ways beautiful and in some ways overburdened little film.
  22. This crafty sociological thriller, set amid the pristine townhouses and lawns of a quiet Reykjavik suburb, builds slowly but surely into a film that feels utterly of a piece with a much wider world.
  23. The director tries to infuse Shock and Awe with the taut procedural drama of “All the President’s Men,” “Spotlight” or “The Post.” But he winds up demonstrating just how difficult it is to make shoe-leather journalism entertaining, much less artful.
  24. This is a movie of myriad worthy, even urgently necessary, ideas; when it reaches its climax, it goes completely haywire in a preposterous, increasingly scattershot sci-fi pastiche.
  25. The result is an unabashedly violent B-movie throwback, the sort director John Carpenter used to make, with moments that resonate with real life.
  26. Although Whitney follows a familiar structure, Macdonald infuses it with artful editorial choices, marking the chapters of Houston’s life with brief but vivid montages of the times in which she lived.
  27. Leave No Trace is not a sociological treatise. It has nothing grandiose to say about homelessness or PTSD. It does, however, deliver an effective (and deeply affecting) allegory of the inevitable leave-taking that all of us — housed or unhoused, happy or half mad — must undergo with our loved ones.

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