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 5.2 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
    • 86 Metascore
    • 100 Reviewed by
      Ty Burr
    Here, [Park] takes a 1997 Donald E. Westlake novel, “The Ax,” and applies it to his home country with malice aforethought. The result is an entertainment that draws blood.
  1. The most engrossing, most revealing film about the making of a movie ever produced.
    • 89 Metascore
    • 100 Critic Score
    At 160 minutes, “Magellan” is one of the shortest and most accessible of Diaz’s films, which for the past decade have tended to fall between four and eight hours...But the scale of the film remains resolutely epic, in part because Diaz is patient and in part because he’s insistent on telling this story of conquest and domination on his terms.
  2. The Plague does an exceptional job of making viewers share in Ben’s growing sense of dread.
  3. Tavernier has created an extraordinary portrait of an artist quite simply because he's so intimate with it -- because he's such an extraordinary artist himself.
  4. Made with uncommon skill and assurance, the film never succumbs to rank sentimentality, but it manages to get at the nuances of human relationships.
  5. Anamaria Marinca delivers an utterly transfixing performance as Otilia, a young woman who helps a friend (Laura Vasiliu) obtain an illegal abortion in the waning days of Romania's communist Ceausescu regime.
  6. Ponyo isn't Hayao Miyazaki's greatest film -- that would be a tall order in a 30-year feature career that includes the Oscar-winning "Spirited Away" -- but his beautiful, quirky fable has magic other children's movies can't touch.
  7. Tremendous fun at times, especially in its vicious power plays and betrayals. But it has no redeeming value beyond entertainment.
  8. Thanks to an exceptionally deft touch, Mottola manages to capture the absurdity and anguish of young adulthood, while never sacrificing meaning on the altar of crude humor.
  9. 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.
  10. The kids in Nobody Knows are most decidedly not crazy, and we come to care for them to an almost excruciating degree.
  11. Gibson may not be much of a deep thinker, but he's a heck of a storyteller. Apocalypto turns out to be not a case of Montezuma's revenge but of Gibson's: It's something entirely unexpected, a sinewy, taut poem of action.
  12. Observed mostly from Remy's rat's-eye view, Gusteau's kitchen is a memorable world-in-miniature with its vivid old-fashioned stoves, bright, brassy pots and general air of frenzied industry; never did sliced red onions or simmering soup look so fresh and real.
  13. Turns out to be not just rude, crude and outrageously funny but a deceptively sophisticated meditation on moral agency -- with pot jokes!
  14. The heart of Million Dollar Baby lies in the core relationships among Frankie, Maggie and Scrap, friendships so pure, so genuine, so authentic that it takes actors of Eastwood's, Swank's and Freeman's caliber to sell them in this otherwise cynical world.
  15. Not only gives us a superb new cast of believable characters, it transcends its own genre. Only superficially a teen comedy, the movie redounds with postmodern -- but emotionally genuine -- gravitas.
  16. Then, finally, there are the endings, all six of them...For us outsiders, it seems like too much of a good thing...But all those are minor rants: The big fact is that The Return of the King puts you there at Waterloo, or Thermopylae or the Bulge, any desperate place where men ran low on blood and iron and ammo, but not on courage.
  17. Bringing a tough, astringent wit to a subject too often wrapped in the cozy blanket of sentimentality or cute humor, Tamara Jenkins takes a frank look at the indignities of aging in The Savages, a black comedy that invites viewers to laugh or at least smile ruefully at the dying of the light.
  18. Sean Penn sings a powerful and poetic hymn to America with Into the Wild, his sweeping, sensitive and deeply affecting adaptation of Jon Krakauer's best-selling book.
  19. Spielmann doesn't move his camera much, but he doesn't have to. The uniformly crackerjack cast keeps things electric, yet always believable, even when behaving in ways that are shocking.
  20. United 93 unfolds with the terrible inevitability of a modern-day "Battle of Algiers," with Greengrass exerting superb control of tone, structure and pace...United 93 may be the best movie I ever hated.
  21. From the very first seconds a viewer believes totally in Downfall.
  22. Anyhow, either as history at its most inspiring or moviemaking at its most exciting, The Tunnel is a trip.
  23. He gives these characters the time to develop, to display their nuances, to establish their relationships with each other, to talk out their destinies.
  24. For my generation, Revenge of the Sith is a brilliant consummation to a promise made a long time ago, far, far away, in a galaxy called 1977.
  25. Batman Begins emerges from the darkness and leaves a powerful, lasting impression.

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