Washington Post's Scores

For 8,199 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 Murderball
Lowest review score: 0 Bio-Dome
Score distribution:
8199 movie reviews
  1. Despite a glorious performance by Nicolas Cage as a vicious father, this vivid satire of a world turned upside down is marred by writer-director Brian Taylor’s sloppy filmmaking.
    • 67 Metascore
    • 37 Critic Score
    There’s very little to say about The Road Movie. That’s because there’s very little to The Road Movie.
  2. With his hard-bitten squint and studied air of scowling detachment, Bale seems to be channeling Clint Eastwood at his most enigmatic and reserved; like Eastwood and his characters, Bale allows both the camera and his fellow characters to come to him, rather than proving his bona fides through more obvious and eager means.
  3. It’s only upon reflection that viewers may realize that, despite its nominal title character, the movie never delves that deeply into who Gloria Grahame was, aside from a femme fatale slinking across a black-and-white screen.
  4. The fly-on-the-wall film is fascinating at times, but less than essential.
  5. The story (by Byron Willinger, Philip de Blasi and Ryan Engle) does not exist to serve the needs of logic, but those of Neeson, who, as has become his habit in this sort of thing, delivers, at minimum, a modicum of guilty pleasure as the middle-aged, tender-but-tough Everyman in a tight spot.
  6. If Phantom Thread isn’t exactly a narrative triumph, it still manages to deliver, especially as a haunting evocation of avidity, appetite and aesthetic pursuit at its most rarefied.
  7. A charmer from its first action-packed frames to its over-the-top jailhouse-musical scene during the end credits.
  8. Swift, stylish, tough-minded and sharp-tongued, this engaging fact-based drama, about a young woman who at one point ran the richest poker game in the world, is worth recommending if only to see its star, Jessica Chastain, at the top of her nerviest, most icily self-controlled game.
  9. Weird and wonderful, zigging where it should zag and zagging where it should zig, this wildly imaginative flight of fancy strikes an admirably poised balance between whimsy, screwball comedy, social satire and generous meditation on the foibles and highest aspirations of human nature.
    • 58 Metascore
    • 75 Critic Score
    It’s the characters, not the convoluted plot or digital magic, that make “Welcome to the Jungle” such fun. For a high-concept Hollywood special-effects movie, that’s quite a concept indeed.
    • 40 Metascore
    • 50 Critic Score
    Although Kendrick’s pint-size dynamo once pushed the Bellas beyond their la-la-la comfort zone, she basically sleepwalks through this third go-round.
  10. Don’t overthink it, in other words. All “Showman” asks of you is that you give yourself over to the holiday-cheer machine, if you can. Like the circus, it’s an experience that’s been engineered for this precise moment in time, and not one minute longer.
  11. All the Money in the World may not have that many surprises up its sleeve, especially if you already know how this story ends. You will, however, get your money’s worth, one way or another: whether it’s from the crime thriller or the thought-provoking sermon on filthy lucre that it throws in, at no extra charge.
  12. Funny when it wants to be, poignant when it needs to be, and surprisingly effective in harnessing these deeper themes to a character who might otherwise be dismissed as a lightweight laughingstock.
  13. “Dunjia” is exuberant and visually inventive, notably in the ways it incorporates text into the images. It also benefits from engaging performances. But the story is motley and not very involving, and the anything-goes CGI undermines the battle sequences.
  14. An almost sinfully enjoyable movie that both observes and obeys the languid rhythms of a torrid Italian summer.
    • 58 Metascore
    • 88 Critic Score
    The film incorporates the book’s story arc, with stylistic nods to Robert Lawson’s drawings of Spanish scenes and people. But it also adds new incidents, characters and depth, with a contemporary wit that doesn’t coarsen the story — or not much, anyway.
  15. Star Wars: The Last Jedi unspools like a one-movie binge watch, a lively if overlong and busily plotted second chapter to the latest Star Wars trilogy that advances the story and deepens its characters with a combination of irreverent humor and worshipful love for the original text.
  16. If the film has an MVP, it’s Bob Odenkirk, who does a splendid and quietly amusing job of playing The Post’s unsung Pentagon Papers hero, assistant managing editor Ben Bagdikian.
  17. The Shape of Water may not achieve the aesthetic and thematic heights of 2006’s “Pan’s Labyrinth,” which still stands as del Toro’s masterpiece. But it’s an endearing, even haunting film from one of cinema’s most inventive artists, one who manages to bend even the hoariest B-movie tropes to his idiosyncratic, deeply humanistic imagination.
  18. Wonder Wheel may be scenic, but it goes nowhere — and slowly.
  19. Handsomely filmed, intelligently written, accented with just a dash of outright hokum, Darkest Hour ends a year already laden with terrific films about the same subject — including the winsome comedy-drama “Their Finest” and Christopher Nolan’s boldly visual interpretive history “Dunkirk” — and ties it up with a big, crowd-pleasing bow.
    • 56 Metascore
    • 75 Critic Score
    Strang plays him as someone who’s almost crippled by a life lived in fear. It’s a moving performance, rendering a character who, even when the sun is out, can’t quite bring himself to emerge from the shadows.
  20. This sweet, affectionate (and unapologetically slight) comedy is an all-too-rare homage to harmless, hilarious incompetence, at a time when there is plenty of the more hurtful kind to go around. If it isn’t quite up to the standards of “Ed Wood,” Tim Burton’s 1994 tribute to the auteur of such misbegotten fruits of moviemaking as “Plan 9 From Outer Space,” it is nonetheless a much-needed distraction.
  21. With its jazz-funk score and trust-no-one scenario, The Swindlers is an entertaining if mostly routine con-game thriller.
  22. The movie still holds power, mostly thanks to Leuenberger’s arresting, self-contained performance as Nora. She plays the character as an enigma, the last person you’d expect to lead a cause.
  23. Whether Thelma is the victim of malign forces beyond her control or the Scandinavian equivalent of horror heroine Carrie, is the central question in this superbly controlled, if derivative, variation on a familiar theme.
  24. One of the great strengths of Roman J. Israel, Esq. is that no one is any one thing.
    • 76 Metascore
    • 63 Critic Score
    Visually captivating even when it’s narratively uneven.

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