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. 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
  2. For students of cool ... Le Cercle Rouge is required viewing.
  3. The movie becomes something quite rare and magical: a text about a text that is also full of life. In other words, it's a true first: It's both postmodern and fun!
  4. The genius of the film is its utter commitment to the Pekar point of view.
  5. You'll likely come away from this astonishing encounter between the three corners of a lovers' triangle not just amused but enlightened about such not-so-simple issues as fidelity, betrayal, lust, possessiveness, honesty and forgiveness.
  6. Mamet's graceful, reverent movie adaptation moves along with a deliberating, almost hypnotic flow, strengthened by impeccable, dignified performances from Nigel Hawthorne, Rebecca Pidgeon and others.
  7. When you think you've figured out Bielinsky's great game, that's when you're in the most trouble: He's the con, and you're just the mark.
  8. It's a deliciously dishy comedy, but like sushi an acquired taste.
  9. A candid, colorful and deeply meaningful sociocultural time capsule, one that captured the black community at the height of its political energy and optimism.
  10. Nolte is not only made for the role, he's also rehearsed it in real life.
  11. Theron has rendered herself 100 percent unrecognizable. Not since Robert De Niro morphed into hulk dimensions to play heavyweight boxer Jake La Motta in "Raging Bull" has there been a transformation this powerful and effective.
  12. Remarkable.
  13. Three sterling performances from Moore, Haysbert and Quaid, all of whom grapple with psychic pain in different, touching ways.
  14. It's a wonderful postmodern hug of a movie, and never once do you not know you're watching a movie.
  15. The scenes unfold with such unhurried delicacy, and the characters are so intriguing, you can ignore the editorial bluntness and savor the smaller, sweeter details.
  16. Profound, powerful Czech import takes a tragicomic approach to the Holocaust, though unlike Benigni's film, the movie does not sentimentalize those caught up in the Nazi dragnet.
  17. As Morvern, Morton is disconcertingly enigmatic, often bordering on catatonic. But she carries the movie effortlessly. And even though we're on the outside looking in, she carries us along, too.
  18. A small film of surpassing beauty and sadness. Yet its bittersweet flavor isn't artificial, but rather the product of the slow ripening of character.
  19. I don't think "Queimada" is as great a movie as "Battle of Algiers," but it retains its vitality, its outrage, its savagery and its spirit.
  20. Passionate, literally shimmering movie.
  21. Profoundly affecting.
  22. The animation, rendered in good old-fashioned watercolors, is appealing. It's easy, rather than flashy, on the eyes. But the best thing about the movie is the humor.
  23. It's hard to remember a recent love story -- maybe "Moonstruck" -- that's as involving as this one. This is not to suggest that the two movies are in the same league, but this is a teen movie that transcends its teen limitations.
  24. 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.
  25. The next worst thing to being there. That's how real it feels.
  26. Fascinating and transgressive love story.
  27. Aniston delivers an utterly un-Rachel-like performance. It's neurosis-free and unmannered, by turns funny, sad and profound.
  28. What this intelligent, balanced, devastating movie puts before us is nothing less than a contest between good and evil.
  29. Without hesitation, I hand the comic award to Smith. She plays a pinched guest known as Constance, Countess of Trentham, to such a hilarious tee, her tee runneth over.
  30. Not just a fitting document of a life brilliantly lived but a vibrant, almost palpitating piece of cinema.

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