Washington Post's Scores

For 7,521 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Certain Women
Lowest review score: 0 8MM
Score distribution:
7521 movie reviews
  1. In keeping with the Smith rules, the movie is irreverent, self-referential, twisted, cheap and tasteless. And, of course, I mean that as the highest compliment.
  2. Never has political correctness looked so sumptuously handsome as it does here, and in its perfect-pitch instinct for the cultural vibe, this sweeping movie is so immaculately dead-on that it nearly transcends criticism.
    • 76 Metascore
    • 90 Critic Score
    A thoroughly engrossing documentary.
  3. A brainy, superbly acted buddy movie.
  4. It must weather some bummy mid-passage exposition, but the movie survives its flaws triumphantly, evolving into a uniquely transporting filmgoing spectacle.
    • 96 Metascore
    • 90 Critic Score
    Still a marvel of verve and bone-dry wit, the movie has been treated kindly by time.
    • Washington Post
  5. Gosling's performance is a small miracle, not only because he's so completely open as a man who's essentially shut off, but because he changes and grows so imperceptibly before our eyes.
  6. The real story lies beneath the surface of this superbly acted, strangely moving film.
  7. Tremendous fun at times, especially in its vicious power plays and betrayals. But it has no redeeming value beyond entertainment.
  8. What emerges is quite extraordinary.
  9. What's truly surprising about Happy Feet is not its giddily brilliant entertainment, its intimate knowledge of the culture or its toe-tapping music. It's how commonplace these qualities have become in computer-animated movies… Happy Feet may be just one of the crowd, but what a great crowd it is.
  10. The real importance of "Earnest" is the thrill of brilliant repartee. And as we laugh, an amazing thing happens: Oscar Wilde comes alive.
    • 62 Metascore
    • 90 Critic Score
    But the greater credit goes to writer/director Towne. In this adult adventure with a twist, he has mixed a good one. [2 Dec 1988, p.n41]
    • Washington Post
  11. The problem, as “Table” shows, isn’t that the next meal never comes. It’s that when it arrives, too often it is filled with empty calories.
  12. Known for comedy, Rogen and Silverman are the film's most delightful surprises, and their performances shine.
  13. Senna is what film critics might call a TMSI movie, as in: Trust me, see it.
    • 75 Metascore
    • 88 Critic Score
    In the end, police descend on the block at the very moment their presence becomes irrelevant. They misinterpret everything; locals watch as they blame all the wrong people. Soon their flashing lights will drive away, and the block will go back to taking care of itself the best it can.
  14. Dark Horse is earnest, sweet and told with sentimentality, featuring shots of horses frolicking in fields set against beautiful string music by Anne Nikitin. Surprisingly, the effect isn’t melodramatic or overbearing, but disarming and endearing.
  15. By turns sweet, sad, funny and poignant, We Have a Pope is the story of a man who doesn't want to be God's representative on Earth.
  16. Unlike “Metropolitan,” which for all its brittle wit seemed clunky and stagebound, Barcelona is sharply paced and alive on the screen.
  17. For a movie that relies so heavily on a single, not especially groundbreaking visual effect — now you see the bogeyman, now you don’t — Lights Out is crazy scary.
  18. If the conceit feels obvious and strained, it still gives Farhadi and his actors ample room to explore the ambiguities of commitment, ethics and revenge in a society where mistrust in public servants runs deep.
  19. If you think "Rocky" and "Raging Bull" define the alpha and omega of boxing movies, think again. David O. Russell's The Fighter proves there's still punch in the genre, especially when a filmmaker tells a familiar story in a brand-new way.
  20. Equal parts playful, sophisticated and engrossing, The Adjustment Bureau is like the first songbird of spring, signaling that the winter of our collective brain-freeze is over and it's safe to go back to the multiplex.
    • 71 Metascore
    • 88 Critic Score
    Gaga looks like fun, but the soul-revealing “Mr. Gaga” makes clear the sacrifice Naharin’s dedication has exacted from family and dancers alike.
    • 67 Metascore
    • 88 Critic Score
    Bidegain and cinematographer Arnaud Potier speak multitudes with wide-angle, slow-panning shots that immerse us in a post-9/11 quagmire that’s never less than utterly personal.
  21. If the movie is any indication, Chevron would have the public believe there was no Amazon at all -- something people might be willing to believe, were Berlinger not sticking Crude in their faces.
  22. With long, quiet takes in which he simply observes Johansson wordlessly taking in the world around her, Glazer infuses the everyday modern world with a surpassing sense of strangeness and doom.
  23. The result is a panorama of emotion, in which one dancer exhibits pure joy and another severe aching. As Bausch notes early in the film, words alone cannot describe something, nor can dance. One medium has to pick up where the last has left off. The disembodied words seem to get to the heart of that idea.
  24. Telling an old story in a new way and infusing what might have been a dry political polemic with poetry, passion and unlikely warmth.

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