Washington Post's Scores

For 7,485 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Election
Lowest review score: 0 The King and I
Score distribution:
7485 movie reviews
  1. A ruthlessly unsentimental portrait of a German war profiteer's epiphany that inspires neither sorrow nor pity, but a kind of emotional numbness.
  2. Days of Heaven leaves one wanting more: either a totally revolutionary approach to pictorial storytelling or traditional dramatic interest....It may be artistic suicide for Malick to continue his style of pictorial inflation without also enriching his scenarios. If he doesn't, he's likely to be remembered not for his undeniable pictorial talent but for his eccentricity. [5 Oct. 1978, p.B10]
    • Washington Post
  3. I appreciate No Country for Old Men for the skill in the film craft. I understand No Country for Old Men for its penetrating disquisition on narrative conventions and its heroic will in subverting them. I admire No Country for Old Men for the way it tightens its grip as it progresses, taking us deeper and deeper into a hellish world. I just don't like it very much.
  4. All foreplay and no climax.
  5. Superman II" gets off to a fast start (in part by recapitulating the plot of the original film in the credit sequence), only to evolve into a curiously absent-minded follow-up...What seems to have been lost is the straightforward heroic exuberance of the original film, despite Reeve's gallant and endearing efforts. [19 June 1981, p.C1]
    • Washington Post
  6. The writer in Soderbergh proves the ultimate weak link. In sex, lies' last third, he seems seized with a compulsion to make sense of it all, bring everything to bear, give everyone their moral comeuppance, their screenplay payoff.
  7. Scrappy and unsubtle where "We Were Here" is elegant and nuanced, How to Survive a Plague isn't nearly as formally beautiful as its predecessor.
  8. Short of good, better than awful, it opens brilliantly, then just goes on, toward self-negating absurdity.
  9. Unlike Hollywood's hygienic undersea dramas, Das Boot graphically depicts the nasty intimacy of a long mission.
  10. Maybe the best way to describe Beasts of the Southern Wild is faux-k art. Even Hushpuppy's name suggests an author more interested in the folk- and foodways of a culture-with-a-capital-C than the people who comprise it. Too often, she and her peers are presented as curios to be exhibited rather than as fully realized -- if resolutely un-mythic -- human beings.
  11. It's frenetic to the point of crazy while achieving a mark that barely exceeds mediocre.
    • 85 Metascore
    • 60 Critic Score
    Though lacking in any particular narrative surprise, the film nevertheless takes the viewer completely by surprise several times.
  12. Although Rohmer's adaptation, shot in German with a cast of actors drawn from the German stage, is pedantically faithful to the letter of the original - almost word-for-word as well as scene-for-scene - it substitutes a style that seems woefully wrong. Rohmer's approach is too static and repressed to release the comic ironies Kleist perceived in the very premise of an honorable man's lapse leading to an honorable woman's distress and built into his brilliantly objective story-telling style. [21 Jan 1977, p.B15]
    • Washington Post
  13. A well-mounted, macabre seriocomedy with passing punchlines. And for about half the movie, it's compelling stuff.
  14. As far-fetched as it sounds, such torque-y plotting works, catching the audience off guard, even if the quasi-feminist payoff is less satisfying than it should be, thanks mostly to the film’s puerile fascination with girl-on-girl action.
  15. Based on Gerry Conlon's own account of his arrest and subsequent incarceration, the film takes forever to do what "60 Minutes" does with the same meat in a single segment.
  16. The story, such as it is, follows Renton's inconsistent attempts to kick his habit.
  17. Shakespearean in tone, epic in scope, it seems more appropriate for grown-ups than for kids. If truth be told, even for adults it is downright strange.
  18. It's a depressing little kingdom, even when Gordon tries desperately to goose the drama with the requisite "Eye of the Tiger" riffs and some junior high-level palace intrigue.
  19. Reminded me somewhat of Archibald MacLeish's famous line that a poem "should not mean but be." That's the reality of The Apostle: It does not mean, it simply is.
  20. There’s nothing wrong with tackling romantic miscommunication, but Birbiglia’s script leaves little room for surprise or depth. Paradoxically, Don’t Think Twice feels both dramatically thin and overstuffed.
  21. If Eastwood had any emotional depth as an actor, the character's anguish might come through.
    • 82 Metascore
    • 60 Critic Score
    The trouble with this art movie is that it's more a movie than it's art.
  22. 11 minutes longer than the original, and 11 minutes worse.
  23. Put delicately, this is one long sit, made all the more so by a turgid story, a dour visual palette and uninspiring action.
  24. Intriguing, oddly banal and ultimately deflating.
  25. It's a cult movie in search of a cult. It'll probably find one. It certainly looks and feels like no other movie ever made.
  26. Mulholland Drive is an extended mood opera, if you want to put an arty label on incoherence.
  27. Suffers from what might be called colonitis. It comprises too many equal parts, and they tangle each other up. Everything is important, which comes to mean that nothing is important.
  28. Upon leaving The Big Short, audiences are likely to feel less enlightened than bludgeoned with a blunt instrument, albeit one wrapped in layers of eye-catching silks and spangles: You may be too old to cry, but it hurts too much to laugh.

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