Washington Post's Scores

For 7,279 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 The Deep End
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
7279 movie reviews
  1. There are so many good things to say about this film it's hard to find a statement that really nails it. Perhaps we can leave at this: Y Tu Mama Tambien is originality writ large.
  2. The genius of the film, besides Hoffman's stunning performance, is that it knows exactly how much is enough. It never overplays, lingers or punches up.
  3. To certain serious world-cinema aficionados, though, Tulpan's combination of understated comedy and documentary-level depiction of rural Kazakh life will be catnip.
  4. The dynamic between Fletcher and Andrew makes for highly pitched drama, which strains for credibility during two climactic scenes.
  5. A compulsively arranged sacher torte of a movie, an elegant mousetrap of stories-within-stories that invokes history with a temperament ranging from winsome to deeply mournful.
  6. The film serves not only as a mesmerizing escape into another world, but also a compelling, compassionate deep dive into human frailty and self-deception.
  7. Hours, even days later, they may find themselves thinking of Adèle and wondering how she’s doing — only then realizing how completely this fictional but very real creation has winnowed her way into their hearts and minds. That’s great acting. It’s great art. And that’s why Blue Is the Warmest Color is a great movie.
  8. Citizenfour isn’t just a useful primer in the civil liberties and consent issues his disclosures raised. It humanizes a man who almost immediately became controversialized as a naive, self-important desk jockey or, worse, a handmaiden to terrorists everywhere.
  9. The Blue Angel it's clear to Von Sternberg, and to us, that he's connected with some pure being of cinema, whose power to ignite an audience was unstoppable. She became a great star.
  10. It spins its wheels in a giddy sort of way, then puts the pedal to the mettle, lays rubber and fairly takes wing.
  11. Rarely has love at any age been depicted so honestly on screen. For such a fully realized portrait to be created by a 28-year-old first-time director is even more remarkable.
  12. Mafioso may have been made in another era, but it stands as a classy, even radical rebuke to the film school posers who keep recycling the same tired gangster tropes.
  13. This is an example of a writer and director working in perfect harness, with Reed smoothly ratcheting up the story's suspense and Greene speculating on his cardinal theme of moral ambiguity. They don't make movies like The Fallen Idol anymore, all the more reason to see it now while you can.
  14. If you think you've absorbed all you could about subprime mortgages, credit default swaps and the arcana of elaborate derivatives, think again. Inside Job traces the history of the crisis and its implications with exceptional lucidity, rigor and righteous indignation.
  15. 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.
  16. The visual comedy is brilliant.
  17. If Kelly felt it necessary to add the new material, that's all to the good. It just means there's more to love.
  18. It's the kind of absorbing, attractive, unfailingly tasteful enterprise that a critic can recommend without caveat.
  19. Up
    The result is a soaring, touching, funny and altogether buoyant movie that lives up to its title in spirit and in form.
  20. A flurry of stunts, close shaves and deeds of desperate daring, it easily transcends its television origins to become a stylish pacemaker-buster.
  21. As taut, sleek and guiltily comfortable as the classic Chrysler automobile we see at the beginning, Quiz Show is built for entertaining road performance.
  22. Whether or not Kaufman’s meticulously accumulated details add up to a grand unified conclusion, there’s no doubt he’s getting at something painfully familiar beneath his movie’s self-conscious artifice.
  23. A sequel that eclipses the original. The toys are back with even more hilarious vengeance. The story's twice as inventive as its predecessor.
  24. The bravura gestures work gorgeously in Birdman, as does the humor, which playfully balances the film’s most mystical, contemplative ideas with a steady stream of inside jokes and well-calibrated shifts in tone and dynamics.
  25. The kids in Nobody Knows are most decidedly not crazy, and we come to care for them to an almost excruciating degree.
  26. Leigh hasn't the affect of a poet, but he's a poet nonetheless. This movie captures the smallish details in life that perhaps you've felt before, but have never before seen on screen. He has a genius for the commonplace. It is truly sweet stuff.
  27. 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.
  28. Armstrong applies a dusting of contemporary feminism, but the stubborn sentimentalism of Alcott's endearing family portrait endures. [21 Dec 1994]
    • Washington Post
  29. The movie becomes something quite rare and magical: a text about a text that is also full of life. In other words, it's a true first: It's both postmodern and fun!
  30. As haunting as it is haunted, The Missing Picture leaves viewers’ heads rattling with ghosts.

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