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 5.4 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. For all its simplicity, Tracks the movie is a poignant, deeply emotional story.
  2. At the most fundamental level, the real Chet Baker is a kind of nowhere man. He's too insubstantial for Weber to levitate him into greatness. This fact is the source of the film's dramatic tension, and Weber, to his credit, seems to have realized it.
  3. [A] captivating and meticulous new film by Alex Gibney.
  4. The feature debut of writer-director Jennifer Kent is not just genuinely, deeply scary, but also a beautifully told tale of a mother and son, enriched with layers of contradiction and ambiguity.
  5. The Overnighters is commendable for many reasons, not the least of which is the way it allows complex issues to remain complex.
  6. There are as many awkward, discomfiting sequences in Obvious Child as there are interludes of genuine fun and romance. The result is a movie that feels risky and forgiving and, despite its traditional rom-com contours, refreshingly new.
  7. 20,000 Days on Earth isn’t so much a portrait of the artist as a middle-aged man, looking back on his life, as it is a meditation on the art of storytelling.
  8. As agenda-driven as Documented is, it also is a deeply engrossing self-portrait.
  9. The film serves an effective marketing tool after all, with some lively footage and funny interviews. It’s just too bad viewers can’t see the actual play.
  10. A sprawling yet engrossing documentary.
  11. It Follows sticks to you — yes, even outside of the theater — with a grim unshakability that is at once stylish, smart and deadly serious.
  12. Szifrón handles the tone and presentation masterfully.
  13. Code Black is a powerful and quietly damning film. While training his lens narrowly on the heroic workers in a single emergency department, McGarry has made a broad indictment of a system that is badly in need of surgery.
  14. The Big Easy, starring Ellen Barkin and Dennis Quaid, is the sexiest, most companionable movie of the summer. Set in New Orleans, it's an amiable, loping, goof of a movie, with charm to burn and not a thought in its head.
  15. If he had to die so soon, this movie is the best and most appropriate sendoff Lee could have hoped for.
  16. 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.
  17. What’s being marketed as a sober, straightforward sci-fi drama (the words “Bring him home” superimposed on an unsmiling Matt Damon inside a space helmet) is instead a smart, exhilarating, often disarmingly funny return to classic adventures of yore.
  18. In viewing the same tale retold from two mutually exclusive vantage points, we become aware of how “Him” and “Her” deepen and enrich certain aspects of the story, adding contrast and, at times, contradiction, to the whole.
  19. A gorgeous, magical and melancholy fantasia about the joy and pain of human existence.
  20. Baumbach judiciously calibrates fantasy and realism throughout While We’re Young and winds up sharing impressions about parenthood, friendship, ambition and aging that viewers themselves most likely have harbored, whether they admit it or not. Even at its most confected, this is a film that tells the truth.
  21. In Myers’s capable hands, and with a powerful, vanity-free performance by Monaghan, Fort Bliss joins “Coming Home” and “The Best Years of Our Lives” as a movie deeply in sync, not just with the military characters it depicts, but also with the civilian world that awaits them with such confoundingly mixed messages.
  22. It’s a voraciously self-aware comedy, one that dines out on the inherent inanity of its own premise as much as it does the movies it’s competing with.
  23. In this swift, smart, often very funny film, Polsky takes an unprecedented look at the legendary Soviet-era hockey program and its life after glasnost, exposing an athletic system that became a crucial symbol of Communist history and politics, but also discipline, grace and brooding, melancholy soul.
  24. Technically, Ghost in the Shell is astonishing, not only for its smooth meld of cell animation and state-of-the-art computer animation, but also for its imaginative storytelling and mood-setting (thanks to an eerie, non-thumping score by Kenji Kawai).
  25. Editing these unwieldy stories into a cohesive, meaningful way must have been a massive undertaking. Editors Jenny Golden and Karen Sim did such an impressive job that even at two hours — an eternity for a doc — the movie never feels too long.
  26. Citizenfour isn’t just a useful primer in the civil liberties and consent issues his disclosures raised. It humanizes a man who almost immediately became controversialized as a naive, self-important desk jockey or, worse, a handmaiden to terrorists everywhere.
  27. With Ex Machina, Garland makes an impressive debut as a director, spinning an unsettling futuristic thriller with the expertise and exquisite taste of a seasoned veteran.
  28. Slick, silly and often extravagantly pretty, it’s a pastiche that threads a tricky needle, conveying the dual nature of cinema as an enchanting art form and a ruthless, rationalized industrial practice.
  29. The genius of Zootopia is that it works on two levels: It’s a timely and clever examination of the prejudices endemic to society, and also an entertaining, funny adventure about furry creatures engaged in solving a mystery.
  30. Filmed with dynamism and propulsive, energetic flair, The Jungle Book allows viewers the vicarious pleasure of sidling up to magnificent (sometimes mangy) beasts as if they were household pets.

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