Washington Post's Scores

For 7,435 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 People vs. Larry Flynt
Lowest review score: 0 Patch Adams
Score distribution:
7435 movie reviews
  1. The feature debut of writer-director Jennifer Kent is not just genuinely, deeply scary, but also a beautifully told tale of a mother and son, enriched with layers of contradiction and ambiguity.
  2. In Kennedy’s scrupulous, adroit hands, Last Days in Vietnam plays like a wartime thriller, with heroes engaging in jaw- dropping feats of ingenuity and derring do.
  3. With a firm grasp on the duality implicit in its title, Little Men is a story that’s neither tragic nor triumphal in the way it resolves itself, but rather one that’s sadly, even satisfyingly true.
  4. Arrives as the perfect midsummer movie, a comedy about a flawed-but-functional family that, like "Toy Story 3," captures the drama of growth and separation in all its exhilaration and heartache.
  5. 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.
  6. The movie is really almost tasteful considering [Cronenberg’s] stomach-churning capacities. He always does it for a higher purpose, though, which is why his films sometimes win wider audiences. This one probably won't cross over, because it's too queasy. [23 Sept 1988]
  7. He (Herzog) emerged with a breathtaking tour of art that, in its formal sophistication, dynamism and rhythmic lines, looks as bold and new as Cezanne's work must have looked in the 1860s.
  8. It's his best work by far.
  9. Scrappy and unsubtle where "We Were Here" is elegant and nuanced, How to Survive a Plague isn't nearly as formally beautiful as its predecessor.
  10. Simple, yet quietly astonishing film.
  11. Short of good, better than awful, it opens brilliantly, then just goes on, toward self-negating absurdity.
  12. Ten
    Shows us, in an extraordinarily simple way, the hopes and frustrations of one woman's life.
  13. In the vein of such recent classics as "The Lives of Others" and "4 Months, 3 Weeks and 2 Days," Christian Petzold's Barbara re-visits the quiet, everyday tragedies of the Iron Curtain era, when paranoia ran deep and for very good reasons.
  14. For filmgoers determined to see cinema not just as mass entertainment but as an art form, The Beaches of Agnes arrives like an exhilarating call to arms.
  15. Unlike Hollywood's hygienic undersea dramas, Das Boot graphically depicts the nasty intimacy of a long mission.
  16. Works best when it concentrates on O'Grady and the ever-rippling effect of his transgressions. Viewers may not remember the victims whose stories practically pierce the heart, but they're unlikely to forget O'Grady's deceptively innocent face.
    • 86 Metascore
    • 90 Critic Score
    Welcome back to the art of storytelling! Back to the Future is a whirling merry-go-round of a movie, in which everything is precisely machined but nothing seems quite safe. It's a wildly pleasurable sci-fi comedy, filled with enchantment and sweetness and zip as only a bona fide summer hit can be. [3 July 1985, p.D1]
    • Washington Post
    • 86 Metascore
    • 88 Critic Score
    [Director Paolo Sorrentino] collects scenes of superficial extravagance and eccentricity, then finds the deeper yearnings they conceal.
  17. This captivating, expertly machined political thriller jumps through every hoop the naysayer can set up: It's serious and substantive, an ingeniously written and executed drama fashioned from a fascinating, little-known chapter of recent history.
  18. If Frears and screenwriter Donald E. Westlake (who scripted "The Stepfather") are light on substance, they're satisfyingly heavy on nuance. Grifters may not blow you away afterward but it keeps your attention riveted during.
  19. Charlotte Rampling takes you so far inside the pain of Marie Drillon it leaves you stirred, shaken and a little in awe.
  20. Sinfully watchable ensemble movie.
  21. A movie of technical skill and rare depth of intellect and feeling.
  22. A glorious romantic confection unlike any other in movie history.
  23. Maintains its artistic magnificence after more than 30 years.
  24. By bringing so much thought, verve and visual poetry to bear on two neurotics acting out -- rather than on the larger cultural story they anticipate and embody -- The Master turns out to be more of a self-defeating whimper than the big, important bang it could have been.
  25. This Is England, set in the social dystopia of Margaret Thatcher's Great Britain, gives us something far more humane and complex than a culturally specific memoir about Doc Martens shoes, reggae music and mindless aggression.
  26. It's a classic story in form, and in this country it used to star Jimmy Cagney.
  27. The film, which begins with a single, gorgeously sustained eight-minute camera move, is blissfully out of touch with contemporary trends in moviemaking...surprising, both in style and narrative.
    • 86 Metascore
    • 80 Critic Score
    it's the simple, earth-bound quality of the film that makes this comic-book fantasy soar.

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