Washington Post's Scores

  • Movies
  • TV
For 6,724 reviews, this publication has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Saraband
Lowest review score: 0 The Devil's Own
Score distribution:
6,724 movie reviews
  1. Not just a fitting document of a life brilliantly lived but a vibrant, almost palpitating piece of cinema.
  2. I love the unsettling details.
  3. Wise, funny, sweet, sexy and kind.
  4. Has a refreshingly keen ability to see everything from multiple angles.
  5. The sexiest movie of the year.
    • 78 Metascore
    • 90 Critic Score
    There are some things the French do better than we do, and this small movie is one.
  6. So elegantly layered and emotionally restrained, it makes the horror at its center all the more disturbing.
  7. Brilliantly played by Denzel Washington
    • 77 Metascore
    • 90 Critic Score
    Anyone interested in serious film should absolutely not miss it.
  8. Profane, sacrilegious, pornographic, sadistic and Sade-istic, titillating and the most honorable movie of the year.
  9. A chalice of unpretentious delight, flowing over with goodwill, a cheeky love for soccer and, uh, Buddhist humor.
    • 84 Metascore
    • 90 Critic Score
    This is one fan's valentine to the music he loves. It just happens that the fan is a terrific filmmaker and the music loves him back -- and we get to see it and hear it all. What a treat.
  10. It's a brilliant, profound movie, but it's almost no fun at all.
  11. What's best about Faithless is its honesty, its lack of desire to ingratiate itself with the audience.
  12. On one level, Yi Yi is classic soap opera, with a suicide attempt, a wedding ceremony, even a brutal 11 o'clock news murder, all in the mix. But Yang's direction is so admirably restrained, it lends rich heft to everything.
  13. A three-ring circus of visual pleasure, showing us the beauty of Korean garment, custom and national character.
  14. To appreciate the movie, you have to be okay with vampire violence. I don't mean subtle little nips at the neck and, ooooh, it's directed by Werner Herzog.
  15. There are so many things to enjoy here.
  16. Majidi has discovered a wonderful cast of players to bring this gentle allegory to life, especially Naji as the irascible but generous Memar, who displays nearly perfect comic timing.
  17. Demonstrates what writer-director Levinson does best: evoke the sights, smells and atmosphere of his youth with intelligence, humor and a keen sense of social perspective.
  18. Although the cast is uniformly strong, the real revelation here is "The X-Files' " Anderson, who plays Lily with subtle gradations of emotional depth unexpected from someone who has made a career out of deadpan.
  19. Passionate, literally shimmering movie.
  20. Surprisingly powerful and universal: the search for meaning and small blessings in the face of life's utter randomness.
  21. 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.
  22. It's sad, funny, shocking and completely unlike any movie in a dozen years.
  23. Wins you over with its devastating simplicity.
  24. A movie that dares you to slow down and enjoy the subtleties of life.
  25. His (Tarkovsky's) pictures, and his sounds -- such as the symphonic drip of raindrops in a wooded pond -- tell more than just the immediate story; they rejuvenate the mind.
  26. Guilty, deftly orchestrated fun.
  27. Where Elizabeth really triumphs over its dusty source material is in transforming all this boring history into a real, rip-roaring adventure tale.
  28. Climb into this rig and you'll be sweating bullets.
  29. A canny (and profoundly sexy) movie.
  30. A memorable and devastating indictment of the oppression facing many women in Iran.
  31. It's a new new thing, classic myth from both literature and the movies, commingled, set to great folk music, and untrammeled by any sense of predictability, urgency, realism or believability but hypnotic, graceful and seductive.
  32. Go
    One of the most exhilarating movies ever made about absolutely nothing.
  33. Never has an actor embodied the passing down of violence and bitterness from father to son more powerfully.
  34. A witty, raunchy comedy, which proves that a well-written piece of business – oozing with sex, wit and nasty intrigue – works for any generation.
  35. The dance between authenticity and storymaking works beautifully.
  36. The movie's pace is unhurried by Hollywood standards, but it's all the richer in character detail.
  37. The trick of this movie is that it's so changeable: You think you've got it nailed and it slithers away to become some other new, fabulous thing.
  38. One of the most enjoyable experiences of the year.
  39. A wonderful thing to snuggle into, as full of heart and pep and innocence as the title character himself.
  40. It's simple, sizzly and very funny.
  41. That tale gets a first-class Hallmark Hall of Fame treatment in Kevin Reynolds's swaggering The Count of Monte Cristo, which is old-form moviemaking at its best.
  42. A movie made by filmmaker working in sync with his times -- an exciting, disturbing, provocative film.
  43. Takes both its characters and the audience to the depths, but it's a journey Kidd redeems with wit and fluency and, ultimately, a deeply persistent humanism.
  44. You realize this is a story about the life beyond this movie, about the great changes in life we never give ourselves time to consider. And for a moviegoing experience, that's a lot of bang for your buck.
  45. A big, sexy, sun-splashed thrill ride, is what a summer movie ought to be: not totally mindless, but more interested in jangling your nerves than engaging your brain.
  46. Anguish ranges from gritty and realistic to the tragicomic soap opera found in Pedro Almodovar's films.
  47. The movie equivalent of a great read. It's a masterfully conducted concert of characters...already head and shoulders above most of the competition.
  48. Steers refreshingly clear of the usual cliches. Character takes the wheel and dictates the action, not the other way around.
  49. This Tarzan doesn't bellow, he kvetches; he doesn't dominate, he persuades; he doesn't rule, he seeks consensus. He isn't the king of the apes, he's a citizen of the animal planet.
  50. Pure energy, a perfect orchestration of heroism, villainy, suspense and comic relief.
  51. Unabashed, streamlined entertainment, and you won't hate yourself in the morning for liking it.
  52. Martin Scorsese brings honor back to the remake. He shines up this reprise of the original with original brilliance
  53. A modern epic that fuses myth with hard-edged reality, it's a one-of-a-kind, thoroughly engaging experience.
  54. Mullan's movie is admiringly uncompromising. He refuses to augment the horrors with relief.
  55. One of the most thought-provoking documentaries of recent times.
  56. Small, quiet movie that imperceptibly takes its viewers by their throats and doesn't let go
  57. Merchant's attention to Trinidadian culture, locales and general atmosphere is inescapably alluring.
  58. One of the year's best films.
  59. The genius of the film is its utter commitment to the Pekar point of view.
  60. Brings kinetic, stylistic and even sexy dimension to the Bram Stoker legend.
  61. The movie may take five extra minutes to end and could do with one less sunset but . . . other than that it's damned near perfect.
  62. The next worst thing to being there. That's how real it feels.
  63. It's a highly professional project complete with exquisite production details and superb actors, yet its subject matter is so far out of the mainstream, it feels almost radical.
  64. Maybe Thomas Wolfe was right: You can't go home again
  65. A darkly enjoyable roller-coaster ride -- Clooney and Kaufman deftly interweave the macabre with lightheartedness.
  66. The nail-biting quality of Shackleton's true story outdoes any dramatic fiction on the market.
  67. Viewers who come to this delicate creation with expectations of just another quaint or sad story are in for a surprise.
  68. Succeeds where 100 studio-generated teen romances -- starring the bland, the blunt or the blow-dried -- have failed.
  69. Makes compelling, provocative and prescient viewing. You can draw your own conclusions.
  70. It feels like real life unfolding before your eyes.
  71. There's a lot in this movie, simple, big, small and exciting. It's the year's first serious contender for big prizes. What's not to like about this picture?
  72. A disconcertingly assured tango between tenderness and brutality.
  73. Raimi offers all the fantasy, camp and hardcore horror you devoured in the comics. You can feel the pen-and-ink drawings coming to life. Dipping wittily into myth, the macabre and the modern, it's an effervescent adventure that's as amusing as it is genuinely gripping. [19 Feb 1993, Weekend, p.n38]
    • Washington Post
  74. Dogme 95 at its best: open-ended and exciting, with a grand sense of experimentation.
  75. One truly, madly, deeply satisfying creep-out.
  76. It eases up on you, lazy as a cloud, and carries you off in a mood of exquisite delight. To borrow W.P. Kinsella's phrase, it has the thrill of the grass.
    • 76 Metascore
    • 90 Critic Score
    Using home movies, photos, a brilliant soundtrack and candid, articulate interviews, director Stacy Peralta (one of the original Z-boys) details the birth of a pop culture phenomenon.
    • 96 Metascore
    • 90 Critic Score
    Still a marvel of verve and bone-dry wit, the movie has been treated kindly by time.
    • Washington Post
  77. It's a kind of 18th-century "Dead Man Walking" but with that earlier film's foreground arguments against capital punishment pushed to the background here.
  78. Exults in the hard-riding romanticism of classic Westerns, but it takes revisionist stock too. It dismounts at places usually left in the dust -- the oppressed lot of women, the loneliness of untended children, adult illiteracy and the horrible last moments of the dying.
  79. Every moment of the way, there is a delectable sense of subtle menace and, at the center of it all, Huppert's haunting expression, part sphinx, part grace and maybe part scary.
  80. The film is a strictly no-bull proposition.
  81. The longest, hardest sit of the season -- you are stuck there, a single tube of puckered muscle, waiting for the extremely ugly violence to occur -- but it is driven by performances of such luminous humanity that they break your heart.
  82. A smart cartoon about the life of the mind. It's about the fuzzy border between dreaming and living. It's thoughtful, provocative, liberating and fun.
  83. Outstanding entertainment for little ones but just as rewarding for their adult companions.
  84. Though brilliant, Menace II Society is definitely a film to guard yourself against. There's not a trace of softness or sentimentality. At times, the picture takes on the scary you-are-there verisimilitude of a tabloid-TV show.
    • Washington Post
  85. Takes you down paths full of primitive, almost biblical implications, but it also finds comic relief in moments of palpable tension.
  86. It is difficult to watch, but it's also impossible to take your eyes off the screen. It does not blench at the things that Hollywood routinely blenches at: substance abuse, dying, family dysfunction, love.
  87. A well-orchestrated nightmare that keeps you on edge until the very end.
  88. This is the Mickey Mouse factory at its finest, with inventive animation, stirring music and a pride of inspired, almost-human animals.
  89. When you're in the hands of the Coen brothers, you're in for sheer originality.
  90. A dead-on sense of how rich kids live and talk today, a sense of the melancholy of a dysfunctional family, and some great dark laughs.
  91. The disturbing ideas it plants in the soil of the soul need time and darkness ? not light ? to germinate.
  92. It takes the rock movie into regions it has never been before.
  93. 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.
  94. Though it might lack in Hollywood production values, it overflows with moral impact.
  95. A stunner -- as big and messy as a war, as small and perfect as a diamond.

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