Washington Post's Scores

For 10,484 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 5.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Step
Lowest review score: 0 Lethal Weapon 4
Score distribution:
10484 movie reviews
  1. Cousteau is a thorough if somewhat by-the-book profile of a pioneer in the field of marine ecology and an activist for better environmental stewardship.
  2. There’s attentive scrutiny here, and a surfeit of playful style, but precious little genuine curiosity or interest.
  3. There is no narration. There are no interviews. Just rote, monotonous activity — a recipe for repetitive stress injury — and the occasional fly-on-the -wall conversation on which we are allowed to briefly eavesdrop between several representatives of what Ascension suggests is as a nation of strivers, with hearts set on achieving what might be called the new Chinese Dream: wealth and success, in the world’s second largest economy.
  4. There’s a lot going on here — a quasi-biblical space opera, part Lawrence of Arabia and part mobster movie — and spreading it out over two movies has allowed [Villaneuve] to take his time with the story and tell it richly, and without rushing
  5. The debut feature from British studio Locksmith Animation, Ron’s Gone Wrong has plenty of slapstick and potty humor for kids. But adults will also be intrigued by its frequently scathing (albeit somewhat conflicted) critique of consumerism.
  6. The Last Duel is an entertaining movie, even an intriguing one. But audiences might be forgiven for thinking, upon leaving the theater, that they’ve just been very nobly and very honorably mansplained.
  7. At its core, Mass exerts the power of ritual at its most reflective and galvanizing, reveling in human connection at its most arduous, persistent and sublime.
  8. There’s a lot of baloney — along with bodies — sliced up by the end, with Laurie bloviating about how Michael has come to “transcend” something or other. But there’s nothing transcendent, let alone new in Halloween Kills.
  9. Bergman Island is a compelling, enchanting film that works both as a relationship drama and as a conversation between one generation of directors and another. It’s almost as though Mia Hansen-Love were teaching Ingmar Bergman how to get down.
  10. The Rescue isn’t just a movie about cave divers, or a recap of a well-reported humanitarian operation. It’s ultimately a film about the triumph of altruism, ingenuity and perseverance in the face of almost impossible odds, by the very people you might initially have dismissed as not up to the task.
  11. Lamb is weird and disturbing, even by the standards of the movie’s indie distributor, A24, which is known for its eclectic and times unsettling content. But it’s also strangely beautiful.
  12. Daniel Craig’s fifth and final outing as the secret MI6 superagent James Bond is also a fittingly complicated and ultimately perversely satisfying send-off for the actor, whose character as the film gets underway isn’t even Agent 007 any more, but a retiree (as Craig is about to become, from this franchise).
  13. What it lacks in originality it makes up for with a streamlined story, a sharp pace — there isn’t a superfluous moment or a wasted scene — and quips galore.
  14. Alternately claustrophobic and epic compositions can’t make up for the myriad story lines (including one frustrating red herring) and pacing issues that periodically lose sight of the stakes at hand.
  15. With Titane, Ducournau joins the crowded realm of elevated horror, to increasingly outlandish and alienating effect.
  16. For its eventual lurid machinations and hyped-up emotionalism, the film winds up being a handsomely efficient one-man show. Like the man Gyllenhaal so convincingly embodies, it gets the job done, even if it inevitably goes over the top.
    • 37 Metascore
    • 37 Reviewed by
      Hau Chu
    The most ghastly thing about the whole movie? The mainstreaming of these most outsider-y of outsiders.
    • 40 Metascore
    • 75 Critic Score
    By scaling back the script’s laughs and excising four songs (plus countless reprises), the film at times lands in an uncanny valley between the heightened musical at its core and the weightier young adult drama Chbosky seems to have envisioned.
  17. It’s a heady dramedy, albeit without terribly many tears or laughs, except those that arise, perhaps unintentionally, from the incongruity of Stevens being repellent.
  18. My Name is Pauli Murray delivers a lively, revelatory litany of all the things Murray got right first, in a career that was driven by equal parts intellectual curiosity and call to service.
  19. Blue Bayou strikes a nerve, of that there is no doubt. But then it keeps poking at it, pointlessly.
  20. The Eyes of Tammy Faye gives viewers an absorbing, amusing and provocative chance to rethink yet another train wreck who turned out to be, of all things, human.
  21. Maybe it’s true that it’s never too late to find a new home. But in some ways, it feels like “Cry Macho” has missed the bus. Perhaps Eastwood should have kept his hand on the reins of this pet project while letting someone else sit in the saddle.
  22. Though there’s no reinvention of the genre here, Louder’s mesmerizing mouse proves more than a match for the assembled tomcats — all exuding machismo — with whom she must deal.
  23. There is a revealing narrative here: a conflict, a climax and a denouement that you may not expect. The Alpinist has built-in drama, simply by virtue of who and what it sets out to document.
  24. With The Card Counter, Schrader has reverted to form, but he’s remade it anew at the same time. He’s done it again, with crafty, haunting power.
  25. In the tradition of such bracing musicals as Kinky Boots, Billy Elliot and Prom, Everybody’s Talking About Jamie has exuberance to burn, high spirits galore and a brand of message-driven escapism that’s as insistent as it is worthy. Resistance, in other words, is futile.
  26. With a tone that shifts as much as a profile picture, Who You Think I Am is a nail-biting ride through social media anxiety.
  27. The Year of the Everlasting Storm doesn’t end with catharsis, but even insects may have something to teach humanity: to endure the best way we can, however minuscule we may feel in the face of an incomprehensible world.
  28. A good story lurks somewhere in Queenpins, but Gaudet and Pullapilly take the easy way out at every plot point and with nearly every joke.

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