Washington Post's Scores

For 7,090 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Crying Game
Lowest review score: 0 Bio-Dome
Score distribution:
7090 movie reviews
  1. 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.
  2. Enormously entertaining and surprisingly touching.
  3. It gets you below the emotional belt in a searing, delicate way. No movie this year approaches such magnificent imagery, such delectable poetry.
  4. 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.
  5. 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.
  6. 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.
  7. The sheer joy of letting go as a tale overwhelms your senses and drives the known world away -- that's the story.
  8. It never disconnects from two values: its honesty and its intensity.
  9. If you want to sample the sheer bouquet of great acting, you could get drunk on this movie.
  10. 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.
  11. This spooky film's ostensible subject—an environmental illness known as multiple chemical sensitivity—is merely a starting place for this mesmerizing horror movie, feminist tract and medical mystery.
    • Washington Post
  12. A movie for aesthetically hungry moviegoers: wildly amusing, sometimes sardonic and always touching. There's so much here, and all of it delightful.
  13. The film's not only funny and weird, it's oddly poignant. I miss Hedwig already.
  14. 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.
  15. There's no doubt about the film's sheer power and taut originality.
  16. 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.
  17. 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.
  18. Although the cast is uniformly fine, Hoffman shines in a role that demands not showmanship, but a kind of complexity and contradiction that can be rendered only through the kind of dull character details that he excelled in, accumulating them from the inside out.
  19. The Look of Silence is as beautiful as it is bleak.
  20. A guaranteed pleasure for anyone who ever loved pop music, owned a record collection or suffered in love
  21. Gracefully moving between the infinite and the practical, the celestial and the implacably grounded, Guzman has created a sensitive, richly textured portrait of time and place that transcends both those conceits.
  22. It doesn't matter how many times you see these images. They're always exciting.
  23. Nothing comes easily in Atonement, especially its ending, which, both happy and tragic, is as wrenching as it is genuinely satisfying. How fitting, somehow, that a novel so devoted to the precision and passionate love of language be captured in a film that is simply too exquisite for words.
  24. As in the best horror movies, Drag Me to Hell keeps the audience on the edge of hysteria throughout, so that every thump sets the heart racing and every joke earns a slightly out-of-control laugh.
  25. A great big beautiful valentine of a movie, an intoxicating romantic comedy set beneath the biggest, brightest Christmas moon you ever saw. It's a monster moon, a Moby Dick of a moon, whose radiance fills the winter sky and every cranny of this joyous love story.
  26. A film of rare intelligence, beauty and compassion.
  27. The aerial dogfight Dykstra and Stears have helped Lucas perfect as his climactic piece de resistance looks more exciting than its antecedents in live-action war movies. It’s the most gorgeous stylized combat sequence since the underwater battle at the end of "Thunderball," a project that won an Oscar for Stears.
  28. The idea that a company in the business of mainstream entertainment would make something as creative, substantial and cautionary as WALL-E has to raise your hopes for humanity.
  29. This is an absolutely brilliant film but in a quiet way.
  30. Haigh knows how to thread a story in a way that makes it feel deliberate and spontaneous, so that when it reaches its climax, viewers feel that it’s both inevitable and utterly devastating.

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