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. It is as polished as it is heavy-handed, and it leaves one under a spell.
    • 72 Metascore
    • 70 Critic Score
    Pressure Cooker may not get the royal, Conde Nast-magazine hype accorded that upcoming Julia Child movie (starring, who else, Meryl Streep), but it merits a place of honor at the table.
    • 66 Metascore
    • 70 Critic Score
    The film manages a career-spanning panache: Soderbergh taps into the nervy impulses of his earliest endeavor, "sex, lies and videotape" as well as "Ocean's Eleven." The Girlfriend Experience has something to elevate and exasperate fans of both.
    • 78 Metascore
    • 70 Critic Score
    Depending on your patience for oddball mood pieces, you will either sleep through O' Horten or be oddly captivated. Either way, it'll be like dreaming.
    • 58 Metascore
    • 50 Critic Score
    Blame the wafer-thin adaptation by Sheridan Jobbins and director Stephan Elliott. What might've been a scrumptious, chocolatey dessert of a movie -- a Noel Coward delite -- is instead a scoop of lemon ice, not filling, faintly sweet and mostly water.
  2. The museum sparkles, but the movie is awfully dull.
    • 40 Metascore
    • 30 Critic Score
    There are two dance-offs, multiple fat jokes and one sight gag using eye boogers, a heretofore ignored bodily fluid. These are the highlights.
  3. The result is a movie that takes itself far more seriously than the "Hasta la vista, baby" tone of previous installments.
  4. Thanks to the new guerrilla narrative, the world has a constant flow of images to file in its collective consciousness. And that camera-testable accountability slowly becomes a global civic right that fulfills the noblest purpose of journalism -- to bring truth to power.
  5. Assayas's actors are so fascinating that I wished at times he had given the house less screen time and let his performers explore their characters more freely.
  6. The Brothers Bloom is all about exploding forms, tropes and archetypes. But it's also a charmer, a witty sandbagging of one's resistance to fairy tale and a movie afflicted with a kind of comic Tourette's syndrome.
  7. What the movie is supposed to accomplish -- laying out a fairly complex mystery in a way that creates suspense -- is precisely what it doesn't do.
  8. Zahn is the single biggest reason why Management is a delightfully screwball romantic comedy and not a crazed-stalker film. And why it works. Like watching a puppy chase its own tail, it's a pleasure watching Mike try to win Sue over.
    • 64 Metascore
    • 50 Critic Score
    The complex story structure teeters between the revelatory and the absurd, depending on how much you buy the irritating-then-intriguing performance by Arsine Khanjian (Egoyan's wife, the Armenian-Canadian actor).
  9. Beltrn, for his part, makes a solidly believable Garca Lorca. The problem is with the man with whom he's obsessed. In Pattinson's performance, we never see what Garca Lorca sees in Dal.
  10. I wished Next Day Air were funnier. In the end, it's a fitfully amusing, sloppy comedy that doesn't work very hard for your 10 bucks.
    • 64 Metascore
    • 70 Critic Score
    A crisp, efficient, sometimes petty but often infuriating documentary about alleged gay politicians who actively campaign and vote against gay rights.
    • 67 Metascore
    • 50 Critic Score
    Enjoyable but forgettable.
  11. This installment has achieved a nearly impossible hat trick. It's a movie that is exegetically correct enough to appease the most hard-core buffs, while opening up the final frontier to a whole new generation of fans who have yet to appreciate Star Trek's ineffable combination of sci-fi action, campy humor and yin-yang philosophical tussle between logic and emotion.
  12. Spielmann doesn't move his camera much, but he doesn't have to. The uniformly crackerjack cast keeps things electric, yet always believable, even when behaving in ways that are shocking.
  13. "Wolverine" is full of angst, and yet has had virtually all the soul wrung out of it in an effort to create a live-action cartoon. But cartoons are rarely so unwieldy, or force a director -- in this case, the largely unsung Gavin Hood -- to juggle so much impossible plotline.
  14. It doesn't do much for the film's pacifist message that, as spacecraft zip across the screen and fire lasers into your popcorn, you may find yourself wishing that Tsirbas had replaced the movie's poorly written dialogue and implausible plot with more battle scenes. War! What is it good for? Awesome animation!
    • 34 Metascore
    • 10 Critic Score
    The relentless vulgarities in Ghosts of Girlfriends Past would be almost tolerable if they were amusing, but Mark Waters's direction is so tentative that the film's single laugh happens more than an hour in.
  15. It's too bad the filmmakers didn't take a breath, look at the rushes and see what a comedic gem they had. With just a few tweaks, The Merry Gentleman could have made a wickedly funny parody of the over-earnest, lyrically hard-edged indie movie. But it's too late for do-overs.
  16. It's a film filled with excellent acting, beautifully composed shots, and one or two legitimate storytelling surprises.
  17. A nihilistic, narcissistic, knuckleheaded move about nihilistic, narcissistic knuckleheads, The Informers might have been an interesting exercise in satire, if it only had a sense of humor. Which it doesn't. You'll need one, though, after forking over 10 bucks to see it.
  18. Fighting isn't very good, but it will make you hope that someday, some great director will give Tatum's pecs the star vehicle they deserve.
  19. Hollywood loves the heroics of good intentions, but this movie is just as interested in the road to hell.
  20. A gorgeously photographed storybook.
  21. It's in this final chapter that the director states his message, which is handled so lightly, almost incidentally, you might miss it. But it's a profound one. For what the girls learn is that the way to get what they want -- no, need -- isn't by hoarding something, but by letting go.

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