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
  1. Lee, who made the upbeat "Eat Drink Man Woman," plays this double love story as brightly as possible. There's peppy social satire in the smallest of gestures.
  2. A pitch-perfect movie that threads a microscopically tiny needle between high comedy and devastating drama.
  3. Like its protagonist, First Man doesn’t go in for theatrics or gratuitous emotion, however justified. It gets the job done, with professionalism, immersive authenticity and unadorned feeling, of which Armstrong himself might just have approved, however apprehensively.
  4. A slickly made, shoot-'em-up sci-fi fantasia, it stands for the proposition that, inside the most staid local theater, there is a drive-in yearning to be free. [29 Oct 1984, p.B4]
    • Washington Post
  5. Straightforward, droll, brutally honest and arresting.
  6. Subtlety may not be the film’s strong suit, but it creates a richly imagined world, as glitteringly arresting as it is savagely merciless.
    • 84 Metascore
    • 100 Reviewed by
      Ty Burr
    Eephus belongs with the great baseball movies not because of any major league ambitions but because it understands what the game has meant and still means in small towns, among average people and weekend players.
  7. Won't break your heart -- it will make it soar.
  8. A movie that appeals to the eye, mind, heart and funny bone; that's a pretty good quadruple for any movie.
  9. There is a clear festive buzz, as attendees laugh, bob and listen to Chappelle's impish, inventive comedy, and some of the best music hip-hop has to offer.
  10. It is, in sum, a sweet film, with the light- hearted theme of we-are-all-pretending-to- be-something-we're-not, and it's only gently naughty. [2 Apr 1982, p.11]
    • Washington Post
  11. An episodic drama rich in sly humor and symbolic imagery.
  12. Thanks to Caine's subtly nuanced performance, there's a deeper dimension to everything. He's snappily ironic at times, sometimes amazingly delicate, always engaging.
  13. Hubris, narcissism, tabloid spectacle and massive self-deception collide with the mesmerizing inevitability of a slow-motion train wreck in Weiner, an engrossing, almost shamefully entertaining documentary.
  14. A vivid, poetic evocation of life in post-invasion Iraq that works both as impressionistic collage and candid portraiture.
  15. If Mystic River is just a bit overplayed, a tad too highly pitched, it still resonates with grief and fury and feeling.
  16. There is no evidence of life outside the immediate world of the movie.
  17. Star Wars: The Last Jedi unspools like a one-movie binge watch, a lively if overlong and busily plotted second chapter to the latest Star Wars trilogy that advances the story and deepens its characters with a combination of irreverent humor and worshipful love for the original text.
  18. The slaughter is part of a traditional fishing culture, according to the Japanese. But if you succumb to the emotional appeal of this documentary, it emerges not just as a bloody and brutal business but almost as bad as genocide.
  19. The three leads deliver funny, convincing performances in a film that wears both youthful callowness and intellectual sophistication lightly. Mutual Appreciation is the kind of movie whose dialogue mostly hews to the rhythms of "like, you know, whatever" but then occasionally throws in a word such as "puissance." And, like, it totally works.
  20. With grace, discretion and supreme tact, Nicks sweeps viewers to a climactic montage that wordlessly honors the best ways we care for one another. The Waiting Room bears poetic witness to an overlooked fact: America's health care system may be broken, but its people are anything but.
  21. The Rescue isn’t just a movie about cave divers, or a recap of a well-reported humanitarian operation. It’s ultimately a film about the triumph of altruism, ingenuity and perseverance in the face of almost impossible odds, by the very people you might initially have dismissed as not up to the task.
    • 84 Metascore
    • 75 Reviewed by
      Ty Burr
    It is as far from the commercial mainstream as narrative filmmaking gets, but for connoisseurs of the poetic bizarre, it has its very real enchantments.
  22. Moodysson's cornball sentimentality about the many shapes of the human family is tempered by his honesty about personal frailty and the silliness of utopian living experiments.
  23. Brings kinetic, stylistic and even sexy dimension to the Bram Stoker legend.
  24. Does Guinness World Records have an entry for longest on-screen fight? If it doesn't, Takashi Miike's 13 Assassins just set it. And if a record actually exists, Miike's film just broke it.
  25. As regrettable as Hite's fate was, The Disappearance of Shere Hite goes a long way toward rectifying the wrongs done to her, whether in the name of erasure, ridicule, or willful misunderstanding.
    • 83 Metascore
    • 75 Critic Score
    The virtues of Crazy Heart only begin with Bridges: Music fans will rejoice at the movie's songs.
  26. A documentary in which one of the most voyeuristic directors in American cinema delivers an engaging, if maddeningly unresolved, tutorial in film production and appreciation.
  27. Local Hero is as gentle as Capra corn and as magical as the Misty Isles. An insightful, international commentary -- badly named, but beautifully drawn -- takes us roaming in the gloaming and questing among stars. [01 Apr 1983, p.19]
    • Washington Post

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