Washington Post's Scores

For 8,549 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 4.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Like Water for Chocolate
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
8549 movie reviews
  1. McNamara fits perfectly into Morris's canon: He tells a story that knocks you right off your feet.
  2. Brokeback Mountain possesses handsome and sympathetic lead players, magnificent scenery, heartbreaking melodrama, righteousness and cultural import. But as a testament to the importance of following one's passion, it's devoid of one crucial thing: passion.
  3. Leery filmgoers can exhale: The Kid With a Bike may hew faithfully to the Dardennes' house style of spare, lucid storytelling. But without giving anything away, let's just say that with this simple, deeply affecting tale, they never set out to break your heart.
  4. With its heartening final note of hope and renewal, Deathly Hallows -- Part 2 provides an altogether fitting finale to a series that has prized the fans above all.
  5. What accounts for the curious appeal of such a pretentiously amateurish scare movie? Surely not the raggedy direction of Robin Hardy, obviously struggling with his first feature. It must be the softcore sex, the illusion that Summerisle is an out-of-the-way paradise where you can get all the action you crave. [26 Nov 1980, p.B9]
    • Washington Post
  6. It plays out with all the suspense of a thriller. Assisted by acclaimed editor Walter Murch, Levinson wisely shapes the story not around the hardware, which was plagued by malfunctions and other delays, but around the people tasked with making the LHC run.
  7. You may not want to hang with the haunted Caouettes, but the movie is so compelling, it doesn't give you a choice.
  8. It's the best sports documentary since "Hoop Dreams," a great piece of work."
  9. You may not have agreed with Ebert’s reviews — you may not have thought he was such a nice guy. But if you aren’t moved by Life Itself, you ought to have your heart examined.
  10. The Shape of Water may not achieve the aesthetic and thematic heights of 2006’s “Pan’s Labyrinth,” which still stands as del Toro’s masterpiece. But it’s an endearing, even haunting film from one of cinema’s most inventive artists, one who manages to bend even the hoariest B-movie tropes to his idiosyncratic, deeply humanistic imagination.
  11. The movie does what any great musician should: It lifts an idea to the heights of ecstasy; it sells its song.
  12. A small masterpiece of a documentary that takes us into the heart of a complex darkness.
  13. It's enough to make your head spin, but Almodovar, whose mastery of the medium has never been more assured, gives you plenty to think about, ultimately grounding the dizzy whirl of his idiosyncratic fictional world in a story that feels not just true but universal.
  14. 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.
  15. Like a cold beer under a bluebird sky; like a flawless line drive on a warm summer's day; like a long, languorous seventh-inning stretch - Moneyball satisfies.
  16. A must-see for any student of history, political rhetoric and film poetics at their most vagrant and revelatory.
  17. As a meticulously composed piece of contemporary gothic, The Duke of Burgundy is exquisite to look at, but it succeeds best as a human drama, and a searching investigation of how to ask for what you want — and maybe even getting it in the end.
  18. The movie masterfully crystallizes the unruly, episodic nature of memories, re-creating the way certain small things stay with us while other, much larger events recede into a haze of cigarette smoke.
  19. Love & Friendship is such a thoroughgoing delight that it’s tempting to riffle through Austen’s other works to find something else for Stillman to make into a film. As adaptations go, this is a match made in heaven.
  20. Force Majeure leaves the audience squirming — in all the very best ways.
  21. The movie version of Jaws is one of the most exciting and satisfying thrillers ever made.
  22. Mostly, though, it's a film about that hollow feeling that hits you when the tears have all dried up and your face hurts way too much to even crack a smile.
  23. For the truth is, given the audacity, the organization, the seriousness of purpose, the movie isn't nearly as provocative as you think it might be.
  24. Instead of a grand tableau vivant that lays out the great man and his great deeds like so many too-perfect pieces of waxed fruit, Spielberg brings the leader and viewers down to ground level.
  25. What "The Big Chill" was to baby boomers, the inspirational sex, lies, and videotape is to the mall crowd. It's designer soul-searching, a looking glass for a generation.
  26. Emerges as the summer's first true must-see film, required viewing for everyone, but especially audiences in Washington.
  27. As wrenching as Room is, especially during its grim first hour, it contains an expansive sense of compassion and humanism thanks to the sensitive direction of Abrahamson.
  28. In the end, Like Water for Chocolate is an overwrought potboiler that punishes Tita for her sexual freedom.
  29. Only someone with intimate knowledge of the Midwest’s singular cadences, social codes and confounding emotional stew (er, covered hot dish) of aggression and politesse could pull off something as masterful, meaningful and poetic as Nebraska.
  30. Like all good fairy tales, this outsize celebration of perseverance and moral triumph contains within it a deeper idea -- in this case, the relative nature of what we think we know, and what's worth knowing at all. No doubt Dickens himself would approve.

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