Washington Post's Scores

  • Movies
  • TV
For 6,568 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 Armageddon
Score distribution:
6,568 movie reviews
    • 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.
  1. Director Demme is smart and sensitive enough to sit back and listen to the music without attention-getting intrusions. The tunes are subtly compelling.
  2. 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.
  3. 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.
  4. 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.
  5. 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
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. A killer concert film, an ecstatic testament to the joys of fandom and a tribute to the democratizing potential of moviemaking technology.
  13. Though Watt's emphasis on coincidence and fate seems strained at times, Look Both Ways is rich in dreamy summer atmosphere and deadpan wit.
  14. Somersault faces the difficulty of representing a girl's unspoken desires and anxieties, a challenge Shortland rises to with terrific skill and aplomb.
  15. It's long, but it's also very real and worth every minute.
  16. 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.
  17. 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.
  18. A charming, if limited, romantic comedy that examines post-collegiate angst with easy, unself-conscious humor.
  19. Combines nonstop action with an absorbing story to become a classic on par with "Hoosiers" and "Hoop Dreams."
  20. In its way, the film is a piercing indictment, though it makes its point without much screaming, hectoring or preening. It's quietly terrific.
  21. Huppert and Greggory provide the emotional impact. They respond accordingly, imbuing their mutual suffering with an exacting and moving finesse.
  22. Clerks II finds Smith up to the profane, raunchy, profoundly humanist mischief of which he alone is the master. This is a lewd, lascivious, exhilaratingly life-affirming celebration of misfits and the misfits who love them.
    • 80 Metascore
    • 80 Critic Score
    Mostly it's just funny. Really, really funny.
  23. The movie is an epic adventure with a rigorously moral point of view.
  24. Chabrol arranges his story with a subtle, almost clinical accumulation. And it takes close attention to the movie's seemingly innocuous details to understand his deeper purposes.
  25. Nearly every scene rings with its own ragged truth, which becomes increasingly painful as Dan's addiction becomes more unmanageable and as he refuses to confront the untenable politics of his own behavior.
  26. Visually dazzling, epic in its sweep and deeply romantic in its sensibility, The House of Sand is one of those films whose images and ideas linger long after the lights come on, having been burned into the viewer's consciousness.
  27. The film looks great on the screen, and Hamer has commissioned a terrific musical score from Kristin Asbjornsen, who has set a few of Bukowski's poems to haunting, jazzy music.

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