Washington Post's Scores

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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:
  1. Positive: 6,014 out of 11478
  2. Mixed: 3,069 out of 11478
  3. Negative: 2,395 out of 11478
11478 movie reviews
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  1. This Is Spinal Tap
    Its cleverness is exceptionally congenial and sustained. [13 Apr 1984, p.B1]
    • Washington Post
  2. Goodfellas
    One of Martin Scorsese's most brutal but stunning movies, an incredible, relentless experience about the singleminded pursuit of crime.
  3. The Look of Silence
    The Look of Silence is as beautiful as it is bleak.
    • 91 Metascore
    • 100 Critic Score
    The Secret Agent
    From its opening shakedown to its final takedown, “The Secret Agent” wanders a world consumed by corruption.
  5. Burning
    Lee plays the actors off one another to create a compelling exploration of human nature. South Korea’s official Oscar submission, Burning culminates in a finale so astonishing that it will sear itself into viewers’ memories for years to come.
  6. Drive My Car
    There is so much going on here, yet the director handles the film’s constellation of themes and sweeping emotion with impeccable assurance and an at-times breathtaking sense of the poetic.
  7. Moolaadé
    Moolaade, in short, is a movie to rock the soul.
    • 91 Metascore
    • 100 Critic Score
    It Was Just an Accident
    It Was Just an Accident ends twice. Both times, its brilliance can take your breath away. That is, what breath you have left by the third and fourth acts of Iranian writer-director Jafar Panahi’s latest relentless road trip, wherein the destination isn’t a place or a thing, but a masterful commentary on power.
  9. A Summer's Tale
    Like most of Rohmer’s movies, A Summer’s Tale is comic, humane and much more complicated than it seems at first. The fresh-faced actors, realistic dialogue and naturalistic performances suggest a casual approach, but as the story progresses, the filmmaker’s control is increasingly evident.
  10. L.A. Confidential
    Hanson delivers something ever rarer in film culture, not a new film noir but an old-fashioned total movie, somehow of a single piece.
  11. Three Colors: White
    Kryzstof Kieslowski's White...is a continuing testament to the Polish director's poetic mastery. Like all of Kieslowski's works, White articulates a whole language of sensations, images, ironies and mystery -- often with a minimum of dialogue. But it is no rarefied, abstract exercise. The movie...aches with human dimension.
  12. Swing Time
    Arguably the best movie of the Astaire-Rogers series, Swing Time is the most consistently entertaining, most imaginatively plotted of their films. [25 Jun 1987, p.B7]
    • Washington Post
  13. Lost in Translation
    It gets at something exquisitely human, so human that even movie stars feel it.
  14. Breaking Away
    Breaking Away is a film with a happy and intelligent imagination, crediting the American teenager with more inventiveness than a more mean-spirited popular culture would admit, these conflicts have a charming originality. [03 Aug 1979, p.27]
    • Washington Post
  15. After Life
    After Life is really a celebration of before-death: It's a complete rarity, for movies in general, for Washington in specific--pure sweetness of spirt. [8 Sept 1999, p.C9]
    • Washington Post
  16. Son of Saul
    Thanks to his taste, rigor and superb sense of control, Nemes manages to create images that are both discreet and graphic, respectful and confrontational, inspiring and unsparing.
  17. Her
    What’s surprising is that Jonze has taken what could easily have been a glib screwball comedy and infused it instead with wry, observant tenderness and deep feeling.
  18. Little Women
    In Gerwig’s capable hands, though, even the most familiar contours of Little Women feel new, not because she has the temerity to redefine Alcott’s masterpiece, but because she subtly reframes it.
  19. The Triplets of Belleville
    Overflowing with madcap visual flair and following a rambling thread of a plot that seems, at times, more the product of free association than an actual script, The Triplets of Belleville is a triumph of animated style over substance.
  20. Monty Python and the Holy Grail
    It's one heck of a basis for a funny movie.
  21. Flee
    Thanks to his courage and Rasmussen’s compassion and creativity, “Flee” morphs from a tale of dispossession to a testament to the power of narrative — to overtake a life, and to liberate it.
  22. EX LIBRIS: The New York Public Library
    This is slow, almost languid filmmaking, yet it’s a delight to watch the countless ways in which the library is still capable of lifting us.
  23. Stories We Tell
    With its ingenious structure, seamless visual conceits and mordant humor, Stories We Tell is a masterful film on technical and aesthetic values alone. But because of the wisdom and compassion of its maker, it rises to another level entirely.
    • 91 Metascore
    • 100 Reviewed by
      Ty Burr
    Nickel Boys
    It is one of the most visually and sonically gorgeous movies of the year, and it is also a tragedy that left me weeping for two men, this country and the world.
    • 91 Metascore
    • 88 Critic Score
    The Boy and the Heron
    This is not a happy-go-lucky story, but an old-school fairy tale meant to frighten, confuse and excite.
  26. Jafar Panahi's Taxi
    Some of the characters make more of an impression than others, and the vignettes aren’t always entirely thrilling or well-acted. But Panahi’s movie remains a political coup considering his significant constraints.
  27. Ida
    Each and every detail accrues to create a vivid, unforgettable portrait, and all are absorbed and reflected by Anna, portrayed by Trzebuchowska with the transparency and wonder of a woman for whom not just history but secular life itself is almost totally abstract.
  28. All the Beauty and the Bloodshed
    The documentary would benefit from a few other voices and a wider range of commentary on Goldin’s work, both photographic and societal. That’s not the movie Poitras and Goldin wanted to make, however. And the story they do tell is compelling and distinctive.
  29. Waltz with Bashir
    A thinking person's horror movie, about real horror and horrifying echoes: The parallels between the Holocaust and the massacres are pronounced.
  30. They Shall Not Grow Old
    A major technical accomplishment. But it’s also a major feat of storytelling, one that mentions no dates, place names or famous battles, yet nevertheless manages to evoke a profound sense of connection with its nameless subjects.
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