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 5.3 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. The film looks great on the screen, and Hamer has commissioned a terrific musical score from Kristin Asbjornsen, who has set a few of Bukowski's poems to haunting, jazzy music.
  2. That the actor performs so effortlessly, so casually, is the real magic here. You forget about technique, and, best of all, you forget you're watching a black-and-white subtitled French movie from the dusty past.
  3. 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.
  4. Remarkably entertaining.
  5. Mostly a string of talking-head interviews, but those talking heads -- more than 16 men and women -- are compelling.
  6. Stands as a valuable chronicle of a brief and snarling musical movement.
  7. Never intends to be deeper than a magician's hat, and its wonderfully low-tech stop-motion technique is not only a nod to Czech animator Jan Svankmajer but a tacit rebuke to computer-graphics-heavy fantasies such as "The Chronicles of Narnia" or the "Lord of the Rings" trilogy.
  8. Macdonald has a fetching feel for the continent, and the movie has a powerful sense of what Africa looks and feels like; you can almost smell it.
  9. This is an exceptionally assured debut, and Montiel exhibits rare care with editing and sound design. His real forte, though, is casting, to which a brief scene featuring Downey and the incandescent Rosario Dawson powerfully attests.
  10. Beautifully shot and edited with swift efficiency, Black Gold joins a cadre of recent films that shine a welcome light on how the stuff we buy gets to us and, more to the point, how the price of that stuff often has little to do with its real cost.
  11. Though it's not as good as the brilliant "Capote," it's nevertheless a riveting, well-made picture.
  12. So those seeking a softer approach to the realities of both child- and animal-rearing should search elsewhere. The rest of us, meanwhile, are free to enjoy a well-made family drama pitched to young adults that's honest, tough and surprisingly engaging.
  13. Bale and Jackman inject their reliable charisma into two otherwise very cold fish. Okay, I'll say it: If you see only one magic-at-the-turn-of-the-century movie this year, make it this one.
  14. A vivid, poetic evocation of life in post-invasion Iraq that works both as impressionistic collage and candid portraiture.
  15. The movie is completely beguiling, and it delivers joy, the beautiful spark of the gods.
    • 74 Metascore
    • 80 Critic Score
    Wildean panache of this caliber is not the norm in movie dialogue, so on this score alone, The History Boys is a blessing. The top-drawer work of a fine ensemble is another.
  16. The Good Shepherd is serious adult moviemaking, a truly surprising effort from De Niro, a man deeply interested in the art, craft and psychology of espionage. He seems to believe that we'd better be interested in it, because it's interested in us.
  17. Director Roger Michell and writer Hanif Kureishi take a deeper, edifying interest in the moral ambiguities that arise between Maurice and Jessie. And thanks to our warm investment in both characters, we're more than willing to sign up for this existential ride. We allow this relationship -- and the movie -- to take us places we'd never usually go.
  18. I can't remember a film that sees the here and now more precisely, one that offers total believability in the tone and motive of its characters and then goes further, showing us a whole and completely recognizable world.
  19. It is a snapshot of a great actor in his prime and a chance for us to see one of yesteryear's great films in all its kingly luster.
  20. Nader haters may not be mollified, but An Unreasonable Man, like its subject itself, is a one-stop civics lesson no one should miss.
  21. As we vicariously participate in their daily rituals, we find ourselves at the ground level of spiritual worship. It's hard to recall a similar documentary that brings viewers so palpably close to that sacred experience.
  22. A riveting, amusing, enlightening and emotionally affecting movie by a guy you've never heard of, about -- wait for it -- the consumer debt crisis.
  23. Although we miss some of the finer details that made Jhumpa Lahiri's 2003 book so meaningful, we're moved by the movie's themes of cultural displacement and the power of chance.
  24. Director Ken Loach is full of astonishments. An avowedly leftist filmmaker, he has always seen beyond political cant to compassionate reality. He's also incredibly sensitive to what might be called the nuances of life, and he always brings a high sense of spontaneous reality to his films.
  25. Color Me Kubrick is like a nice, deep, clear cocktail of ammonia on the rocks: bracing, comic, astonishing, all of which hide its poison center.
  26. Along with such colleagues as Abbas Kiarostami and Moshen Makhmalbaf, Panahi has perfected the art of realist filmmaking,
  27. Wedding has enough coincidences, screamfests, drunken rants and shock revelations to fill a season of "Desperate Housewives," but it comes across as finely textured drama, thanks to the performers, who make their characters so persuasive and three-dimensional, we're too mesmerized to care about the story's more overwrought or histrionic passages.
  28. Kristin Scott Thomas delivers an unnervingly smooth performance as Auteuil's suspicious wife.
  29. Flanders, which takes us from the rustic heartland of northern France to the killing fields of an unnamed foreign locale, has such a primitive poetry, we are moved even by its most gruesome moments.

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