Washington Post's Scores

For 6,942 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: 59
Highest review score: 100 Maria Full of Grace
Lowest review score: 0 Serving Sara
Score distribution:
6,942 movie reviews
  1. The dour, downbeat story eventually spirals into grisly Grand Guignol and contrivance. Still, Gordon-Levitt is superb, and Jeff Daniels delivers a wry and wily performance as Pratt's blind roommate.
  2. What modest pleasure the film affords is largely thanks to the charisma of its genial stars.
  3. Plays like a piece of mediocre music, gorgeously rendered.
    • 63 Metascore
    • 60 Critic Score
    The film loses courage (or imagination) and hews to the Spielberg school of climactic denouement, so that teen farce and special effects take over. By the time the thing has played out, that subtle scare/laugh mix is a thing of the past and you feel as though you just walked out of "Breaking Away" or Goonies. Ah well.
  4. Lillard, who played the squirrelly Stuart in "Scream," brings a mischievous sense of humor and an easygoing charm to his potentially unsympathetic character.
  5. It's just a simple, actorly drama about big, gaping emotional needs and the consequences a woman can face -- particularly during the 1960s -- for simply owning up to them.
  6. That script – co-written by Terry Hayes and director Brian Helgeland – is almost too noir for its own good at times, but Gibson somehow manages to pull its implausibility off.
  7. Yes, it is v. funny. It's just not v. clever. And clever is what made the original Bridget Jones movie such a hoot.
  8. Sure, Balzac meanders at too leisurely a pace. But the actors are charming; the story sweet
  9. The direction has a fluid, no-nonsense authority, and the performances by Harris, Phifer and Cam'ron seal the deal.
  10. The geological equivalent of an albatross around the neck. It's another of those Warner Bros. productions that are heavy on star iconography and production values but AWOL on story.
  11. The acting is occasionally creakily theatrical; as is the script. But some important things come through.
  12. Directed by Davis Guggenheim ("An Inconvenient Truth"), the movie is heavy on hokum but easy to like, thanks to the spunky Schroeder.
  13. It's too bad there's not more substance to The Duchess, because there's lots of acting and, as is required of a Brit-styled period piece, lushness galore.
  14. There is no evidence of life outside the immediate world of the movie.
  15. Left-wing filmmaker's attempt to call foul on megamedia owner Murdoch's exclamation-point news network.
  16. And though brilliantly acted, it's not. For some reason, the director and the writer (Paul Bernbaum) have chosen an exceedingly awkward path into the materials. They break the narrative into two strands and play them off each other in cheap and easy ways for insubstantial effect.
    • 82 Metascore
    • 60 Critic Score
    The trouble with this art movie is that it's more a movie than it's art.
  17. In trying to compose a poetic love letter to a time of liberation and freedom, Haynes has merely conjured up memories of druggy excess, egotism and tight trousers. The only mementos worth saving from the experience are available on the soundtrack.
    • 49 Metascore
    • 60 Critic Score
    The overall unevenness of tone is the movie's biggest flaw, but the slo-mo scenes of doggie derring-do are quite funny.
  18. Manages to be a diverting and funny character study, at least most of the time.
  19. This is an impassioned movie, made with conviction and evangelical verve. It's also hysterical and overbearing and alienating.
  20. The movie is visually stirring. And the locations, in Zimbabwe and Mozambique, imbue the story with eerie authenticity.
  21. UHF
    Yankovic, an advocate of the Monty Python and Mel Brooks schools of comedy, favors yechy burlesque, and UHF, with its scant plot, is basically a variety show with skits, sight gags and gross stuff. "Weird" reminds us there's nothing quite like a good booger joke for pure entertainment.
  22. The movie's surface of bright, brittle patter, initially off-putting, comes finally to serve as camouflage for the sinister movement of large and powerful forces.
  23. Ultimately, Jedi even backs off some of the more tantalizing possibilities suggested by the cliffhanging scenario of "Empire." This inhibition appears to grow out of consideration for the feelings of the juvenile audience, which can enjoy an abundance of thrills and close calls while resting assured that nothing catastrophic is going to be fall the heroes.
  24. Moderately pleasing adaptation of the W. Somerset Maugham novella.
  25. Unfortunately, for all its good music and admirable vocal impersonations, Walk the Line slides -- very, very slowly -- downhill.
  26. Although Monkeybone will undoubtedly make you laugh at its slapstick highjinks, the irony is that for a movie that's ultimately about soul, that's the one commodity that's in precious short supply up on the screen.
  27. Maestro is for people already aware of this history. For everyone else, this is pretty much invitation-only.

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