Washington Post's Scores

For 11,478 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 5.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Oppenheimer
Lowest review score: 0 Dolittle
Score distribution:
11478 movie reviews
  1. Despite the threatened NC-17 rating, there's nothing remotely sexy about this stone-cold escapade. It only reaffirms the stodgy reputation of the British, who think hot to trot means let's go fox hunting.
  2. It isn't Austen, but it's delicious fun.
  3. A charming and astute first-person documentary.
  4. It's the individual characters, so carefully crafted, who count, as opposed to a tidy conclusion.
  5. This familiar-sounding melodrama works because of the extraordinary performance, in the title role, by Alba August, a young actress whose every emotion is made manifest, like passing clouds or a burst of sunshine, on her uncannily expressive face.
  6. This cinematic Macbeth possesses a terrible beauty, evoking fear, sadness, awe and confusion. Presented with the aesthetic of a dark comic book, it’s also a mournful masterpiece, rendering Shakespeare’s spectacle with all the sorrow and majesty that it deserves.
    • 71 Metascore
    • 75 Critic Score
    The catharsis Warrior offers in the end is hard won, and it will take a steely viewer not to find it gratifying, however over-the-top it may be.
  7. The empowerment trajectory of Ms. Purple, whose title may refer both to the color of two dresses worn by its protagonist and to the hue of hard-won bruises she sports by the end of the film, will surprise no one.
  8. The latest film adaptation of Far From the Madding Crowd will delight fans of period dramas. It checks off the required boxes with solid acting, gorgeous cinematography and all the frustrating, glorious emotional restraint that you expect from a romance set in Victorian England.
  9. With warmth, unsparing self-awareness and that ineffable Everyman appeal sometimes called "relatability," Birbiglia proves to be as engaging a presence on the screen as he has been all these years onstage and over the radio waves.
  10. Lacks the edge and depth of a truly inspired work.
  11. As with Wadjda, Mansour gives audiences a candid, often wryly amusing glimpse of life inside the Saudi kingdom, which is so often cloaked in opacity and menace.
  12. In the end the movie goes nowhere a hundred movies haven't already been and tells us nothing we don't already know. It does so with so much violent energy, however, it's like four brutal years at film school crammed into an hour and a half.
  13. Fellowes has brought intelligence and control to the eternally vexing question of whether the right thing is always the good thing.
  14. In elaborating on the original book so boldly, and repopulating it so richly, Jonze has protected Where the Wild Things Are as an inviolable literary work. In preserving its darkest spirit, he's created a potent, fully realized variation on its most highly charged themes.
  15. Ingrid Goes West doesn’t quite go south, but in diving headfirst into the swamp of Internet addiction, its vision gets a little murky.
  16. RBG
    Despite her biting legal writing, she comes across, on camera, as unfailingly mild-mannered, decorous and polite, especially when the film explores her rather unlikely friendship, based on a shared love of opera, with her late conservative colleague Antonin Scalia.
  17. The movie is more entertaining than it is logical; its narrative leaps are sometimes ahead of our ability to believe them. But as the compellingly enigmatic Pierre, Pinon keeps us rapt.
  18. A gorgeously morbid meditation on the interconnectivity of life.
  19. The movie is powerful, if numbing. What movie about a massacre isn't?
  20. Entrancing, uncommonly compassionate film.
  21. Diabolically amusing without plunging into the Mel Brooks zone, and it's smart without being pedantic. And it's genuinely scary at times.
  22. If Collateral is all formula, it's polished to a fine sheen.
    • 71 Metascore
    • 75 Reviewed by
      Hau Chu
    Some viewers may want delicacy in a period film about women navigating a world in which they’ve been pitted against one another. But maybe, Mayfair suggests, we need the blunt reminder: The issues that women were confronting in the Vietnam of the 1800s — a world in which they’re considered property more than people — aren’t all that different from today.
  23. The movie's intense watchability can be traced directly to superb performances by Jennifer Connelly and Ben Kingsley.
  24. A gee-wonderful virtual visit to the arid orb, which uses ingenious technical sleight of hand to -- let's face it -- fake it beautifully.
  25. The power of "Grbavica" is not the arc of its story line, but the fullness of the world Zbanic creates.
  26. A dreadfully earnest but fatally uninspired effort to compress the aftermath of an epic catastrophe, massive nuclear war, into a small-scale family memoir.
  27. The central story itself is not distinctive, and though Lee certainly churns up a lot of dust, he never captures the mythic quality that made Price's original seem so much bigger than its almost generic cast of players.
  28. The Mighty Quinn is a sunny Caribbean caper as giddily seductive as a great big umbrella drink. It's sly, wry and ocean-salty, a detective story with tropical punch.

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