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. In Evan Almighty, Mr. God goes to Washington. Frank Capra, stop rolling in your grave. At least they cared enough to steal from the very best.
  2. A taut, meticulously crafted police procedural.
  3. If Broken English occasionally falls prey to a bit too much self-conscious lethargy, it's still a welcome chance to see Posey at her flighty, edgy best.
  4. Director Pascale Ferran makes this a sort of opera of two bodies, as the characters discover not only each other but themselves. And the French filmmaker cannily turns their corporeal discoveries into a moral mission, two desperately lonely souls crying for spiritual freedom in a world of moral constriction.
  5. Frank (Ben Kingsley) meets Laurel (Tea Leoni), a woman who has been around the block a time or 200, and she likes Frank's directness, while he likes her unflappability. This is one of the greatest screwball relationships in years.
  6. Manufactured Landscapes makes an inelegant point elegantly. The point: Humanity is altering the landscape drastically and by implication irrevocably.
  7. Surely the dullest of Hollywood's many comic-book-derived summer movies, "Silver Surfer" is drearier than corn dying in the Iowa sun, slower than molasses in Antarctica.
  8. Manages to navigate the era of cellphones and Mean Girls with retro nostalgia and wholesomeness, making it a rare girl-powered outing for tweens in an otherwise guy-centric summer.
  9. The movie isn't funny in any big way so much as recognizable in its patterns of dysfunction, delusion and futility. But you believe in it, because you believe in the small but decent lives of its characters, a rare experience for a hot weekend in June.
  10. Viewers are urged to grab an aisle seat, the better to dance when the music moves them -- as it surely will.
  11. Ocean's Thirteen is too complicated for its own mediocrity.
  12. It's cool but not too cool, and cute but not too cute. A neat trick considering its overexposed avian cast.
  13. Cotillard leaves you loving her Piaf, wishing you could reach through the screen and steer her life a bit differently.
  14. A remarkable film from Romania.
  15. Turns out to be not just rude, crude and outrageously funny but a deceptively sophisticated meditation on moral agency -- with pot jokes!
  16. Directed by Davis Guggenheim ("An Inconvenient Truth"), the movie is heavy on hokum but easy to like, thanks to the spunky Schroeder.
  17. What compels then isn't the overwrought plot, but the simpler things, the dynamics between the actors, the avuncularity between old pros Costner and Hurt and the class condescension between Costner and Cook. It has a fascinatin' rhythm.
  18. Now, they're together. You can't look at them, but you can't look away either. So it goes.
  19. Like its predecessor, the movie is a joyous celebration of extravagant pulp and post-Soviet kitsch, joyously trafficking in gore, loud cars, ladies' stilettos and excess for its own sake.
  20. Its mixture of wisdom and whimsy -- exemplified by the movie's unnamed and occasionally cheeky narrator -- makes this Australian movie feel as timeless as it is timely. And instead of feeling dutifully cultural as we immerse ourselves in this story, we're genuinely intrigued, touched and even amused.
  21. Bug
    We find ourselves in the fascinating no man's land between horror and comedy -- right where this movie wants us to be.
  22. Funner, biggerer, brighterer, bolderer, Pirates of the Caribbean: At World's End is not only okay, it may even be close to good. A lavish spectacle illuminated by Johnny Depp's swishing pirate captain, the movie has its dull moments, but not many.
  23. Angel-A is counterfeit art-house chic writ large -- a French film that fails to produce the ineffable charms of the yesteryear movies it brazenly imitates.
  24. Writ small, Golden Door is an absorbing and moving love story; writ large, it's the story we've never stopped telling ourselves.
  25. It's best appreciated by assuming something of a dream state ourselves and enjoying the giddy flow.
  26. The end result of Shrek the Third is that you laugh a lot and you go home grumpy.
  27. 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.
  28. None of the killings has any suspense, and the capital I irony -- that these people make their living selling death in small mechanical packages and munitions to the world and are now being hunted down by the same devices -- never begins to produce any results. Put it on a level with a mid-series "Halloween."
  29. The trouble is, this is Hartley all over again. What seemed cutting edge and sharp in the 1990s -- the smart-alecky references to obscure filmmakers (Werner Herzog, Andrei Konchalovsky), the self-mocking tone in the actors' voices, the overall sense that this movie is subverting itself -- feels rehashed and old.
  30. Even the uninitiated will be hard-pressed to resist the movie's charms, from its likable leading players and its charming Dublin setting to its wistful take on modern love.

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