Washington Post's Scores

For 6,876 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Chicago
Lowest review score: 0 Formula 51
Score distribution:
6,876 movie reviews
  1. Leery filmgoers can exhale: The Kid With a Bike may hew faithfully to the Dardennes' house style of spare, lucid storytelling. But without giving anything away, let's just say that with this simple, deeply affecting tale, they never set out to break your heart.
  2. With elegant, clockwork construction, Smith has transplanted his novel of greed, betrayal and getting what you deserve to the screen, where it is told by director Sam Raimi with a spareness befitting the whiteness of its snowed-in setting.
  3. More like a waking nightmare than a docudrama. A true story of murder and justice evidently miscarried, wrapped in the fictional haze of a surrealistic whodunit, it will leave you in a trance for days. [2 Sept 1988]
  4. Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.
  5. Sean Penn makes a striking screen presence in This Must Be the Place, a smart, funny and original road movie by Italian director Paolo Sorrentino ("Il Divo").
  6. Wickedly funny and devilishly subversive. It is satire at its most fearless.
  7. Because it's one of the most beautiful films ever. Because it's a work of art on the order of a poem by Yeats or a painting by Rothko.
  8. It's more than a detailed account of one man's petty vindictiveness in a bygone era. It's about how our hatred can consume us so deeply that we lose sight of everything.
  9. The writing is so musical, so attuned to human frailty and aspiration, that I defy anyone to watch the movie without smiling — with amusement one minute, rueful recognition the next, but probably always with some measure of simple, undiluted delight.
  10. Superbly conceived anti-biopic.
  11. Turns out to be one of the most transportingly romantic movies of the year, one that finds the most stirring emotion in struggle rather than in ginned-up melodrama or easy resolution.
  12. Gripping, whole and nourishing. Certainly of the fantasy film series currently in American theaters -– I include "Harry Potter and the Secret Toity" and "Star Trek: Halitosis" -– The Lord of the Rings: The Two Towers is the best, and not by just a little.
  13. A searing, apocalyptic and finally breathtaking drama.
  14. In Kennedy’s scrupulous, adroit hands, Last Days in Vietnam plays like a wartime thriller, with heroes engaging in jaw- dropping feats of ingenuity and derring do.
  15. Foxcatcher exerts a mesmerizing pull, not only because it affords the chance to witness three fine actors working at the height of their powers, but also because it so steadfastly resists the urge to clutter up empty space with the filigree of gratuitous imagery and chatter.
  16. Enormously entertaining and surprisingly touching.
  17. It gets you below the emotional belt in a searing, delicate way. No movie this year approaches such magnificent imagery, such delectable poetry.
  18. Stands with the best movies of this young century and the old one that preceded it: It's passionate, honest, unflinching, gripping, and it pays respects. The flag raising on Iwo might have indeed become a pseudo-event as it was processed for goals, but there was nothing pseudo about the courage of the men who did it.
  19. By and large, Zero Dark Thirty dispenses with sentimentality and speculation, portraying the final mission not with triumphalist zeal or rank emotionalism but with a reserved, even mournful sense of ambivalence.
  20. What "Raising Arizona" was to baby lust, "Barton Fink" is to writer's block -- a rapturously funny, strangely bittersweet, moderately horrifying and, yes, truly apt description of the condition and its symptoms.
  21. The sheer joy of letting go as a tale overwhelms your senses and drives the known world away -- that's the story.
  22. With its deft intercutting of place and time, the film creates a powerful sense of mysticism and fate.
  23. If you want to sample the sheer bouquet of great acting, you could get drunk on this movie.
  24. With its ingenious structure, seamless visual conceits and mordant humor, Stories We Tell is a masterful film on technical and aesthetic values alone. But because of the wisdom and compassion of its maker, it rises to another level entirely.
  25. A movie for aesthetically hungry moviegoers: wildly amusing, sometimes sardonic and always touching. There's so much here, and all of it delightful.
  26. The film's not only funny and weird, it's oddly poignant. I miss Hedwig already.
  27. With the exception of the opening scene -- whose purpose is chiefly comic -- the movie is one, extended climax. Even with flashbacks and other time jumps, it never lets up. You have to go back to Henri-Georges Clouzot's 1952 "The Wages of Fear" to recall suspense this relentless.
  28. There's no doubt about the film's sheer power and taut originality.
  29. As a parable on karma, capitalism and Darwinian corporate politics, Two Days, One Night can often feel brutal. As a testament to connection, service, sacrifice and self-worth, it’s a soaring, heart-rending hymn.
  30. An extraordinary and brilliant (and almost wordless) film that takes us above ground and below it, up in the air and deep below water, to follow its conundrum of a story.

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