Washington Post's Scores

  • Movies
  • TV
For 6,646 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: 58
Highest review score: 100 Addicted to Love
Lowest review score: 0 Formula 51
Score distribution:
6,646 movie reviews
  1. A sort of romance noir -- spruced up in pressed white linens -- this British-made film is elegant, uncompromising and oh-so- veddy nasty.
  2. Treat this project as you would a safari: It has its slow parts but the wildlife makes it worthwhile.
    • 66 Metascore
    • 80 Critic Score
    This is dangerous, dissonant material, but writer/director David O. Russell, making his feature filmmaking debut, somehow pulls it off.
  3. From its sepia-toned palette to the Motown hits that drive its terrific soundtrack, Glory Road is utterly authentic. But most astonishing is an unrecognizable Jon Voight as Adolph Rupp.
    • 58 Metascore
    • 80 Critic Score
    Cruise was born to play company man, and the role is an opportunity to sum up his old roles and transcend them with his most potently emotional work.
  4. It's not the deepest thematic concern you ever saw on screen. But it's watchable, great fun.
  5. There are extremely touching moments between Jesse and mystical Randolph, who seems to understand just about everything; and, more tellingly, between Jesse and mechanic Jim.
  6. Memo to left-wing anti-Bushies: Stories like this work. Don't lecture. Tell stories! Much better!
  7. It's pretty funny. You don't actually watch it so much as indulge it and admire its cleverness.
    • 45 Metascore
    • 80 Critic Score
    Written and directed by Steve Oedekerk, the latest "Ace" has a little more of everything than the first: more special effects, goofy props and "Airplane"-like sight gags.
  8. Director Demme is smart and sensitive enough to sit back and listen to the music without attention-getting intrusions. The tunes are subtly compelling.
  9. Although the dogs have surely been Disney-fied to some extent, the sequences of them trying to survive are magnificent and deeply moving. Bring the Kleenex, and hug your pups when you get home.
  10. As Tsotsi, Chweneyagae turns his face into a living battle mask -- curved, molded and sandpapered into smooth ruthlessness. But as the story unfolds, Tsotsi's mask begins to crack, and his humanity begins to flow through.
  11. There is a clear festive buzz, as attendees laugh, bob and listen to Chappelle's impish, inventive comedy, and some of the best music hip-hop has to offer.
  12. In this modern retelling of the well-known fable, she is one princess-in-waiting who does not need rescuing by any knight in shining armor. [31 Jul 1998, Pg. N.47]
    • Washington Post
  13. The movie is one of the best American films in months and months and the best comedy since I don't know when. It even makes you sorta kinda like Matthew McConaughey.
  14. Even as he reinvents, Aja invents. He's clearly working on a big budget for his first American film and has been told he can do anything he can think of. Visually, the movie is wildly alive, full of sure touches.
  15. Director Fernando Eimbcke, in an extraordinary debut, never expresses contempt for his characters. By examining their inner lives with compassion and respect, he inspires us to do the same.
  16. The movie is one of those brilliant and rare blends of paradoxical elements -- both the tragedy and the folly of history, the weight of inheritance, the pressure of the ideal, lots of fairly steamy sex, even a secret agent or two.
    • 71 Metascore
    • 80 Critic Score
    It doesn't overreach, doesn't cannibalize some obvious predecessors and doesn't try to drown its story about innocent music of the early '60s in the troubled waters of music in the '90s.
  17. A deft, tense, pure thriller, the movie has great star turns and is brilliantly directed, but it began as an extremely well-crated screenplay by Russell Gewirtz. It's professionally entertaining.
  18. Like all the Dardennes' films, L'Enfant is a vivid, Dickensian report from the most dispossessed precincts of society. But the film concludes on an optimistic note, at least for the Dardennes. It's still the worst of times, the filmmakers seem to suggest, but we're still capable of humanity, if not hope.
  19. A killer concert film, an ecstatic testament to the joys of fandom and a tribute to the democratizing potential of moviemaking technology.
  20. Though Watt's emphasis on coincidence and fate seems strained at times, Look Both Ways is rich in dreamy summer atmosphere and deadpan wit.
  21. Somersault faces the difficulty of representing a girl's unspoken desires and anxieties, a challenge Shortland rises to with terrific skill and aplomb.
  22. It's long, but it's also very real and worth every minute.
  23. What you get for your entertainment dollar in Lady Vengeance is Korean director Chan-wook Park's brilliantly orchestrated story of how Lee Geum-ja (Lee Young-ae ) got her groove back.
  24. The Pixar people have an extreme talent for conjuring imagery that is both soaring in its majesty but also resonant -- it's a stylization but acute enough to carry emotional meaning.
  25. A charming, if limited, romantic comedy that examines post-collegiate angst with easy, unself-conscious humor.
  26. Combines nonstop action with an absorbing story to become a classic on par with "Hoosiers" and "Hoop Dreams."

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