Washington Post's Scores

For 8,627 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% 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 Vincent & Theo
Lowest review score: 0 Splice
Score distribution:
8627 movie reviews
  1. The Act of Killing is a must-see.
  2. It gets at something exquisitely human, so human that even movie stars feel it.
  3. Works as both historical allegory and moving family drama.
  4. The Overnighters is commendable for many reasons, not the least of which is the way it allows complex issues to remain complex.
  5. To watch "Lives" is not just to enjoy a fabulously constructed timepiece; it's to appreciate a deft cautionary tale.
  6. The sheer joy of letting go as a tale overwhelms your senses and drives the known world away -- that's the story.
  7. The drama is a realistic and methodical meditation on family obligation, personal sacrifice and — of course — the power of architecture. That makes Columbus as lovely to look at as it is to ponder.
  8. A wonderfully acted, heartwarming family film, it suffers from a goopy score, but not in the least from its potentially stalemated subject matter. Zaillian can make a chess tournament look like the Threepeat.
  9. Thanks to Marsh's sensitive storytelling, Man on Wire manages to put Petit's performance into another, more ineffable realm: What began as a caper turned into poetry, and poetry became a prayer.
  10. Merchant and Ivory have regathered many of the cast and crew from their earlier films to work on this reproduction to exquisite effect.
  11. One of the more accomplished and beautiful films released thus far this year.
  12. The result is a perfect combination of slapstick and satire, a Platonic ideal of high-and lowbrow that manages to appeal to our basest common denominators while brilliantly skewering racism, anti-Semitism, sexism and that peculiarly American affliction: we're-number-one-ism.
  13. Elle would be too clever by half — not to mention fatally offensive — were it not for Huppert, who in her portrayal of Michèle owns the movie from its opening moments to its bizarre, but not entirely surprising, denouement.
  14. A gorgeous, magical and melancholy fantasia about the joy and pain of human existence.
  15. Thanks to his taste, rigor and superb sense of control, Nemes manages to create images that are both discreet and graphic, respectful and confrontational, inspiring and unsparing.
  16. 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.
  17. National Gallery could have used a few more edits; its long run time may limit its appeal. But the film is remarkably engaging and, with close looks at so many important pieces of art, bursting with beauty.
  18. Ferguson builds a compelling case of bad judgment, error, stubbornness and arrogance.
  19. If The Madness of King George, which Bennett adapted for the screen, dilutes some of the play's articulate intensity, it still conveys the drama's essential spirit. King George-the-movie also has the supreme advantage of Nigel Hawthorne, who originated the role of George on stage. His subtly calibrated performance, as he undergoes emotional rages, bouts of dementia and sudden attacks of lucidity, provide the film's most amusing and touching moments.
  20. Hoss’s breathtaking portrayal, especially in the film’s final minutes, makes it clear why director Christian Petzold has made a habit of working with her.
  21. Goodbye Solo is visually simple and stunning, especially the haunting nightscapes of Solo's perambulations. But more important, Goodbye Solo is driven by deep feeling and sensitivity. Don't miss it.
  22. There are several reasons to see Selma — for its virtuosity and scale, scope and sheer beauty. But then there are its lessons, which have to do with history, but also today: Selma invites viewers to heed its story, meditate on its implications and allow those images once again to change our hearts and minds.
  23. The Artist is anything but mute, with a lush orchestral score and a little sonic wink at the the end; fewer movies this year reward listening - and watching - so lavishly.
  24. The Piano is dark, sublime music, and after it's over, you won't be able to get it out of your head.
  25. One of Martin Scorsese's most brutal but stunning movies, an incredible, relentless experience about the singleminded pursuit of crime.
  26. Ingenious, exhilarating, funny and profound.
  27. Grand enough in scale to carry its many Biblical and mythological references, Blade Runner never feels heavy or pretentious -- only more and more engrossing with each viewing. It helps, too, that it works as pure entertainment.
  28. It is in fact a traditional mystery more reminiscent of Agatha Christie than the reigning film noir aesthetic of 1947. But it's fabulously entertaining.
  29. A terrific piece of filmmaking. It's taut, believable as it unspools. It's charismatic, with a slow buildup of tension in near-real time that finally explodes into a blast of violence.
  30. In the last half-hour, the story, like the Japanese, loses its way; lacking any clear-cut goals except survival, the film becomes repetitive. Letters From Iwo Jima is a necessary movie; too bad it's not a great movie.

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