Washington Post's Scores

For 7,938 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Under the Sand
Lowest review score: 0 Orphan
Score distribution:
7938 movie reviews
  1. 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.
  2. 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.
  3. Amy
    [A] sensitive, superbly constructed, ultimately shattering documentary.
  4. Superbly conceived anti-biopic.
  5. 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.
  6. 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.
  7. This movie is great in any version...I don't miss what has been cut from the new version. The overall effect is so beautifully wrought, a few details aren't going to bring things crashing down.
  8. A searing, apocalyptic and finally breathtaking drama.
  9. 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.
  10. 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.
  11. Enormously entertaining and surprisingly touching.
  12. It gets you below the emotional belt in a searing, delicate way. No movie this year approaches such magnificent imagery, such delectable poetry.
  13. 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.
  14. 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.
  15. 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.
  16. One of the smartest, most inventive movies in memory, it manages to be as endearing as it is provocative.
  17. The sheer joy of letting go as a tale overwhelms your senses and drives the known world away -- that's the story.
  18. With its deft intercutting of place and time, the film creates a powerful sense of mysticism and fate.
  19. If you want to sample the sheer bouquet of great acting, you could get drunk on this movie.
  20. 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.
  21. 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
  22. Manchester by the Sea is a film of surpassing beauty and heart. Even at its most melancholy depths, it brims with candid, earnest, indefatigable life.
  23. A movie for aesthetically hungry moviegoers: wildly amusing, sometimes sardonic and always touching. There's so much here, and all of it delightful.
  24. The film's not only funny and weird, it's oddly poignant. I miss Hedwig already.
  25. 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.
  26. There's no doubt about the film's sheer power and taut originality.
  27. 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.
  28. Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.
  29. 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.
  30. 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.

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