Washington Post's Scores

For 7,437 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Let the Right One In
Lowest review score: 0 Armageddon
Score distribution:
7437 movie reviews
  1. The director isn't much on orgies; he's all talk. But that's good, not bad, because his talk is so brilliant. Stillman is the Balzac of the ironic class, the Dickens of people with too much inner life.
  2. Takes both its characters and the audience to the depths, but it's a journey Kidd redeems with wit and fluency and, ultimately, a deeply persistent humanism.
  3. A movie of technical skill and rare depth of intellect and feeling.
  4. May be a fish tale, but its story of the paradox of love -- knowing when to hold on means knowing when to let go -- is profoundly humane and human.
  5. Suddenly, you're looking at life in his (Thornton's) jaundiced way and laughing with a sense of vicarious liberation, even when he says the most outrageous things -- to children, no less. And I daresay you can still recover your holiday spirit when you're through laughing.
  6. A delectable reworking of the ultimate girl's myth, a corporate Cinderella story with shades of a self-made Pygmalion.
  7. One thoroughbred of a movie. Sleek, well-muscled and brisk, director Steven Soderbergh's newest offering delivers just about everything anyone could possibly want from filmed entertainment -- except deep thought.
  8. Gorgeously animated and stirringly told, Disney's Mulan is a timeless story that will delight kids and divert adults with its sweeping scope, emotional intimacy and screwball humor.
  9. Childishly simple, but extremely funny.
  10. On one level, Yi Yi is classic soap opera, with a suicide attempt, a wedding ceremony, even a brutal 11 o'clock news murder, all in the mix. But Yang's direction is so admirably restrained, it lends rich heft to everything.
  11. When you're in the hands of the Coen brothers, you're in for sheer originality.
    • 77 Metascore
    • 90 Critic Score
    Anyone interested in serious film should absolutely not miss it.
  12. The best kind of genre filmmaking: It plays by the rules, obeys the traditions and is both familiar and fresh at once.
    • 83 Metascore
    • 90 Critic Score
    Sweet, strange and ultimately heartbreaking.
  13. One of the year's best films.
  14. Van Sant gives his material shape and an invigorating, syncopated style. It keeps coming at you in surprising, dazzling ways.
  15. Theron has rendered herself 100 percent unrecognizable. Not since Robert De Niro morphed into hulk dimensions to play heavyweight boxer Jake La Motta in "Raging Bull" has there been a transformation this powerful and effective.
  16. Thanks to an exceptionally deft touch, Mottola manages to capture the absurdity and anguish of young adulthood, while never sacrificing meaning on the altar of crude humor.
  17. Rushmore is an almost indefinable genre of its own. A comedy with a menacing edge? An ironic romance? Hard to call.
  18. What's more, Bertolucci's voice is stronger, clearer and more effortlessly confident than it has been in years. He's stolen the beauty of Tuscany and his youthful star and transformed it into an exquisite work of movie art.
  19. Succeeds where 100 studio-generated teen romances -- starring the bland, the blunt or the blow-dried -- have failed.
  20. Spy movies just got thrilling again.
  21. Surprisingly smart, graphically faithful live-action adaptation of the Mike Mignola series
  22. As Morvern, Morton is disconcertingly enigmatic, often bordering on catatonic. But she carries the movie effortlessly. And even though we're on the outside looking in, she carries us along, too.
    • 67 Metascore
    • 90 Critic Score
    After watching Gibson and Glover grow accustomed to each other, develop trust and confidence in each other and charge bullheadedly into dangerous situations, you can't help but hope there's a "Lethal Weapon II." It would be one of the few times a sequel would make sense and dollars.
  23. Raimi offers all the fantasy, camp and hardcore horror you devoured in the comics. You can feel the pen-and-ink drawings coming to life. Dipping wittily into myth, the macabre and the modern, it's an effervescent adventure that's as amusing as it is genuinely gripping. [19 Feb 1993, Weekend, p.n38]
    • Washington Post
  24. Sumptuous, warm, continually amazing, it's a completely enjoyable couple of hours at the flickers.
  25. A quirky, tender, splendidly acted fable.
  26. It's beautiful. I loved it. And it broke my heart.
  27. Extraordinary on many levels...because Mountain Patrol instead becomes what might be the first Chinese conservationist spaghetti western ever made.
  28. Pure energy, a perfect orchestration of heroism, villainy, suspense and comic relief.
  29. The fantastic and at times deliciously nihilistic world of X2 is fully, believably three-dimensional.
  30. As he has done in all his movies, from creature features such as "Mimic" to serious dramas such as "Pan's Labyrinth," del Toro creates unforgettable images, filled with color, texture, lyricism and horror.
  31. A darkly enjoyable roller-coaster ride -- Clooney and Kaufman deftly interweave the macabre with lightheartedness.
  32. Yes, it's that cheesy, but it's also surprisingly appealing. After all, the horse Seabiscuit really WAS that phenomenal.
  33. Ingenious, exhilarating, funny and profound.
  34. What the movie may lack in "Saving Private Ryan"-style gloss, it more than makes up for in authenticity, or, in other words, heart.
  35. Warmhearted, wonderfully witty.
  36. Yes
    For those who accept Potter's premise -- and why not embark on a challenging, enriching experience? -- this is a unique, bold adventure of the soul.
  37. The sexiest movie of the year.
  38. It's a kind of 18th-century "Dead Man Walking" but with that earlier film's foreground arguments against capital punishment pushed to the background here.
  39. This is about the rise of a pop star, plain and simple. The real deal –- and the movie's greatest fun –- is in the rap contests.
  40. A gift for those already in the fold, for those who get the joke and just want to savor it with other like-minded fans.
  41. He gives these characters the time to develop, to display their nuances, to establish their relationships with each other, to talk out their destinies.
  42. Just might be the most action-packed suspense thriller of the summer.
  43. A riot from start to finish, Carrey's first feature comedy is as cheerfully bawdy as it is idiotically inventive.
  44. Majidi has discovered a wonderful cast of players to bring this gentle allegory to life, especially Naji as the irascible but generous Memar, who displays nearly perfect comic timing.
  45. Though brilliant, Menace II Society is definitely a film to guard yourself against. There's not a trace of softness or sentimentality. At times, the picture takes on the scary you-are-there verisimilitude of a tabloid-TV show.
    • Washington Post
  46. Huge, sprawling, and utterly absorbing.
  47. If the scope of the film feels small, Girl With a Pearl Earring fills that scope to bursting with subtle glory. It takes things as far as they can -- and should -- go.
  48. Guilty, deftly orchestrated fun.
  49. Director Van Sant, who made the lyrical "Mala Noche," "Drugstore Cowboy" and "My Own Private Idaho," returns to his favorite hunting ground -- the subworlds of grimy, poetic lost boys -- and pulls us right in
  50. Reconfirms Tarantino's status as the master of pop cinema and puts a sense of excitement into the year. He has matched, if not eclipsed, the power and scope of 1994's "Pulp Fiction," though not its human charm.
    • Washington Post
  51. Three sterling performances from Moore, Haysbert and Quaid, all of whom grapple with psychic pain in different, touching ways.
  52. Psychological suspense at its finest.
  53. The kids in Nobody Knows are most decidedly not crazy, and we come to care for them to an almost excruciating degree.
  54. Batman Begins emerges from the darkness and leaves a powerful, lasting impression.
  55. Never has an actor embodied the passing down of violence and bitterness from father to son more powerfully.
  56. Scorsese creates a film so resonant that it is both a work of great art and an anthropological document.
  57. Genuine, amusing and, best of all, humanly scaled and humanely oriented.
  58. A chalice of unpretentious delight, flowing over with goodwill, a cheeky love for soccer and, uh, Buddhist humor.
  59. Laurent's crime is really the crime of being European and conquering people of color. That understood, Cache is brilliant.
  60. It gets at something exquisitely human, so human that even movie stars feel it.
    • 78 Metascore
    • 90 Critic Score
    There are some things the French do better than we do, and this small movie is one.
  61. There are so many things to enjoy here.
  62. The heart of Million Dollar Baby lies in the core relationships among Frankie, Maggie and Scrap, friendships so pure, so genuine, so authentic that it takes actors of Eastwood's, Swank's and Freeman's caliber to sell them in this otherwise cynical world.
  63. The next worst thing to being there. That's how real it feels.
  64. Charlotte Rampling takes you so far inside the pain of Marie Drillon it leaves you stirred, shaken and a little in awe.
  65. It's not the sort of film one can be said to enjoy, but it is the sort of film that has the clarity of a dream and lingers for hours.
  66. A three-ring circus of visual pleasure, showing us the beauty of Korean garment, custom and national character.
  67. The interplay between Glass and Lane is riveting and rigorous.
  68. It's simple, sizzly and very funny.
  69. This digitally animated movie, filled with a cast of charming, funny critters from long ago, is family entertainment at its most bright-eyed and bushy-tailed.
  70. Witherspoon's simply terrific, and it's amazing how quickly and easily she sheds speculation that she was too modern for the role.
  71. We've seen it all before, most recently in "Gardens of Stone," most romantically in "An Officer and a Gentleman," but never more elegantly than here as Kubrick sustains the athletic ballet of obstacle courses and white-glove inspections for a breathtaking 40 minutes.
  72. Anguish ranges from gritty and realistic to the tragicomic soap opera found in Pedro Almodovar's films.
  73. It begins by scaring you to death by evoking a monster, and by the end it has seduced you into caring for him.
  74. Has Blanchett and Jones to its credit. To watch them is to take in two of the screen's greatest natural wonders.
  75. Koltai is an accomplished, Oscar-nominated cinematographer (for 2000's "Malena"), and Fateless is meticulously composed and shot.
  76. Really, really good -- Yes, it's over the top, giddy and parodistic (God bless it). But it also takes a thoughtful, if surreptitious, look at what eight women might act like when men aren't around.
  77. A small film of surpassing beauty and sadness. Yet its bittersweet flavor isn't artificial, but rather the product of the slow ripening of character.
  78. Though it might lack in Hollywood production values, it overflows with moral impact.
  79. Straightforward, droll, brutally honest and arresting.
  80. It eases up on you, lazy as a cloud, and carries you off in a mood of exquisite delight. To borrow W.P. Kinsella's phrase, it has the thrill of the grass.
  81. Mamet's graceful, reverent movie adaptation moves along with a deliberating, almost hypnotic flow, strengthened by impeccable, dignified performances from Nigel Hawthorne, Rebecca Pidgeon and others.
  82. In the Name of the Father is as good a compromise of fact and fiction as you could hope for -- and still call it a movie.
  83. Writer-director David O. Russell's exhilarating follow-up to "Spanking the Monkey," is even wilder, giddier and more unpredictable than that irreverent debut.
  84. Thanks to strong performances from all, particularly Mount and Nicholson, we're with this story all the way.
  85. McNamara fits perfectly into Morris's canon: He tells a story that knocks you right off your feet.
  86. Brilliantly written by Buck Henry, "To Die For" works on several levels. As a satire on the American obsession with celebrity and fame, the movie is nuanced and haunting. And for the most part, Van Sant keeps the tone chillingly light and ironic.
  87. Their characters' desire (Scott Thomas and Zylberstein) -- no, need -- to repair their fragile bond feels as achingly real as the mother lode of hidden pain that gets exposed by the work of these two great actresses.
  88. Harbors some indelibly arresting images and characters whose stories, even at their most superficial, manage to be authentically inspiring.
  89. It's a brilliant, profound movie, but it's almost no fun at all.
  90. This is the Mickey Mouse factory at its finest, with inventive animation, stirring music and a pride of inspired, almost-human animals.
  91. For an agonizing and ultimately transcendent cinematic portrait of sacrifice, love and saving grace, audiences need look no further than this unpretentious and deeply moving film.
  92. Gibson may not be much of a deep thinker, but he's a heck of a storyteller. Apocalypto turns out to be not a case of Montezuma's revenge but of Gibson's: It's something entirely unexpected, a sinewy, taut poem of action.
  93. A 160 minute work of sustained brilliance and delicacy.
  94. The greatness of The Battle of Algiers lies in its ability to embrace moral ambiguity without succumbing to it.
  95. Old-fashioned moviemaking at its best.
  96. Part of this success is due to the exquisitely cast ensemble-composed of actors, not movie stars. To a man, woman and child, the unforced performers are spot-on.

Top Trailers