Washington Post's Scores

For 7,743 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 3.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Crash
Lowest review score: 0 National Lampoon's Gold Diggers
Score distribution:
7743 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Kryzstof Kieslowski's White...is a continuing testament to the Polish director's poetic mastery. Like all of Kieslowski's works, White articulates a whole language of sensations, images, ironies and mystery -- often with a minimum of dialogue. But it is no rarefied, abstract exercise. The movie...aches with human dimension.
  5. The visual comedy is brilliant.
  6. If Kelly felt it necessary to add the new material, that's all to the good. It just means there's more to love.
  7. It's the kind of absorbing, attractive, unfailingly tasteful enterprise that a critic can recommend without caveat.
  8. In a word, Hell or High Water is terrific.
  9. Up
    The result is a soaring, touching, funny and altogether buoyant movie that lives up to its title in spirit and in form.
  10. A flurry of stunts, close shaves and deeds of desperate daring, it easily transcends its television origins to become a stylish pacemaker-buster.
  11. As taut, sleek and guiltily comfortable as the classic Chrysler automobile we see at the beginning, Quiz Show is built for entertaining road performance.
  12. Right up to its somewhat perfunctory but sneakily satisfying conclusion, Aquarius makes a compelling case for looking up from our ubiquitous distractions to take in the world around us — the one that we live in and, whether we’re aware of it or not, lives in us.
  13. 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.
  14. A sequel that eclipses the original. The toys are back with even more hilarious vengeance. The story's twice as inventive as its predecessor.
  15. 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.
  16. The kids in Nobody Knows are most decidedly not crazy, and we come to care for them to an almost excruciating degree.
  17. 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.
  18. 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.
  19. Armstrong applies a dusting of contemporary feminism, but the stubborn sentimentalism of Alcott's endearing family portrait endures. [21 Dec 1994]
    • Washington Post
  20. 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!
  21. As haunting as it is haunted, The Missing Picture leaves viewers’ heads rattling with ghosts.
  22. 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
    • 87 Metascore
    • 100 Critic Score
    This vibrantly disorienting cinematic import reinvents the vocabulary of the crime drama with a painterly eye and a feverish documentary style.
  23. What little dancing we do see is lovely to watch, but it’s also lovely to see a performer who once seemed to have an iron grip on the barre finally learn how to be gracious and let go.
  24. Hypnotically absorbing film.
  25. Soaring, swooning and gently nostalgic, Brooklyn takes melodrama to a new level of reassuring simplicity and emotional transparency.
  26. The performances are consistently first-rate from a cast of appealing actors who slip effortlessly into Farhadi’s naturalistic aesthetic scheme, which seems utterly unforced even at its most intricately staged.
  27. As the movie progresses, it deepens emotionally and becomes less of a detective thriller and more of a character study, and it's to Franklin's credit that he never allows his hard-boiled style to soften. Thematically, the movie doesn't make a strong statement, but it is strikingly expressive in its details.
  28. Gromit's every facial move -- every grimace, scowl, eye-roll and glance askance -- is sublime.
    • Washington Post
  29. One needn’t have first-person experience with, or even approve of, the extremes Minnie pursues to appreciate the honest, forthright way Heller and Powley present a journey that, stripped to its most basic emotional elements, is timeless and universal.

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