Washington Post's Scores

For 7,516 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 Monsieur Lazhar
Lowest review score: 0 Crossroads
Score distribution:
7516 movie reviews
  1. The film's not only funny and weird, it's oddly poignant. I miss Hedwig already.
  2. 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.
  3. There's no doubt about the film's sheer power and taut originality.
  4. 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.
  5. Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.
  6. 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.
  7. 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.
  8. The sheer joy of letting go as a tale overwhelms your senses and drives the known world away -- that's the story.
  9. The Look of Silence is as beautiful as it is bleak.
  10. Reveals itself detail by searing detail.
  11. A guaranteed pleasure for anyone who ever loved pop music, owned a record collection or suffered in love
  12. Wickedly funny. In fact, Heathers may be the nastiest, cruelest fun you can have without actually having to study law or gird leather products. If movies were food, Heathers would be a cynic's chocolate binge.
  13. Gracefully moving between the infinite and the practical, the celestial and the implacably grounded, Guzman has created a sensitive, richly textured portrait of time and place that transcends both those conceits.
  14. In this final installment of a glorious trilogy (which includes the films “Blue” and “White”) he has saved his greatest for last.
  15. It doesn't matter how many times you see these images. They're always exciting.
  16. Nothing comes easily in Atonement, especially its ending, which, both happy and tragic, is as wrenching as it is genuinely satisfying. How fitting, somehow, that a novel so devoted to the precision and passionate love of language be captured in a film that is simply too exquisite for words.
  17. As in the best horror movies, Drag Me to Hell keeps the audience on the edge of hysteria throughout, so that every thump sets the heart racing and every joke earns a slightly out-of-control laugh.
  18. A great big beautiful valentine of a movie, an intoxicating romantic comedy set beneath the biggest, brightest Christmas moon you ever saw. It's a monster moon, a Moby Dick of a moon, whose radiance fills the winter sky and every cranny of this joyous love story.
  19. A film of rare intelligence, beauty and compassion.
  20. The aerial dogfight Dykstra and Stears have helped Lucas perfect as his climactic piece de resistance looks more exciting than its antecedents in live-action war movies. It’s the most gorgeous stylized combat sequence since the underwater battle at the end of "Thunderball," a project that won an Oscar for Stears.
  21. Whether by dint of his source material or his own maturity, the filmmaker has invested the surface sheen with tenderness and emotional depth. It’s no surprise that Julieta is marvelous to look at, but it possesses just as much substance as style.
  22. The idea that a company in the business of mainstream entertainment would make something as creative, substantial and cautionary as WALL-E has to raise your hopes for humanity.
  23. This is an absolutely brilliant film but in a quiet way.
  24. Haigh knows how to thread a story in a way that makes it feel deliberate and spontaneous, so that when it reaches its climax, viewers feel that it’s both inevitable and utterly devastating.
  25. As a celebration of personal and social history, 20th Century Women takes the audience back. But it also lifts us up on a wave of openhearted emotion and keen intelligence. It bursts with the sad, messy, ungovernable beauty of life.
  26. It is sheer brilliance and testament to the vitality of an old master.
  27. Spielberg has always demonstrated extraordinary aptitude for filmmaking, but "E.T." is far and away his most satisfying work to date. He knows how to transform the raw material of his childhood into an appealing popular fable. There are sequences that touch you to the quick in mysteriously casual ways
  28. That rare romantic comedy that dares to choose messiness over closure, prickly independence over fetishized coupledom, and honesty over typical Hollywood endings.
  29. The movie fixes you in its gravitational pull. It's an enveloping, walk-in vision... As rich and satisfying a movie as you're likely to see all year.
  30. A tour de force so haunting that other films can't exorcise the memory of its radiant cast, exquisite craftsmanship or complex system of metaphors. This, ladies and gentlemen, is a movie.

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