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. Things take a nasty turn in the film's bilious third act, suggesting that Guest's deepest gift -- his expansive humanism -- stops at the studio gates.
  2. Bobby, even if it suffers from a few silly scenes, gets more right than it does wrong.
  3. The two main characters are so shallow and self-involved -- not to mention the friends, family members and sundry apparatchiks they lug around with them -- that the two hours of Flannel Pajamas begin to feel like real time.
  4. Falls as flat as a bottle of corked Bordeaux.
  5. The film amounts to a harsh and perpetual assault on viewers' sensibilities -- not only because of its violence but because of its overall bleakness.
  6. There's a problem: This romance isn't developed enough to be truly satisfying -- it's fat-free SnackWell's when you want Godiva. It's not the original story we signed up for -- or thought we did.
  7. A vivid, poetic evocation of life in post-invasion Iraq that works both as impressionistic collage and candid portraiture.
  8. Purists will howl at the liberties Shainberg has taken with the facts, but there's a bravery to Fur, an uncompromising commitment to its narrow focus -- of one woman's creative birth -- that rhymes with Arbus's own artistic courage.
  9. This feels like a cramped, TV-style retelling, with small groups of people, no special effects, in some ways almost cheesy.
  10. The movie is completely beguiling, and it delivers joy, the beautiful spark of the gods.
  11. A documentary on the F-word that manages to amuse superficially until it moves into its seventh hour, at which point it grows wearisome.
  12. The result is a perfect combination of slapstick and satire, a Platonic ideal of high-and lowbrow that manages to appeal to our basest common denominators while brilliantly skewering racism, anti-Semitism, sexism and that peculiarly American affliction: we're-number-one-ism.
  13. Shot through with cheeky wit and hilarious musical numbers by the aforementioned slugs, Flushed Away features an eye-popping boat chase through London's watery nether regions, as well as the winning vocal talent of Kate Winslet, Bill Nighy and Ian McKellen, doing his best Sydney Greenstreet. Well done!
  14. This all makes for a deeply entertaining experience that engages our hearts as well as our funny bones. And it's gratifying to see Cruz finally get her due.
  15. Music video director Simon Brand makes an impressively taut debut with Unknown, a nifty little psychological crime thriller that suggests a "Treasure of the Sierra Madre" for the postindustrial age.
  16. How about a well-sustained argument for saving the planet instead of this round-robin approach? And where are those holdouts of humanity who believe humans shoulder no blame for carbon dioxide buildup? Let's hear from them, too, and draw our own conclusions.
  17. Yet as sophisticated a piece of filmmaking as it is, it seems hamstrung by the banality at its center; that's why it never assembles into a satisfying whole. It's pretty -- oh, what's the word? -- stupid in its dramatization of the silly little connections that unite us, and it's somewhat selective in its choice of them.
  18. Director Phillip Noyce has made a serious movie that switches to almost popcorn entertainment.
  19. We realize that this romance, like the beautiful land, is doomed almost inevitably to earthquake fissures, to irreversible change. But rather than making us despondent, Climates leaves us peacefully philosophical.
  20. If Simon's desire to feed the better angels of our nature is admirable, it would be nice if he could do it with better movies.
  21. One of the excellent attributes of Shut Up & Sing is that it lets the cards fall where they may and really doesn't try to spin the Chicks themselves. It's quite possible, then, to watch the film and come to the conclusion that Maines has a big mouth. Spectacularly talented, the young singer is also a spectacular blowhard.
  22. As skillful an artist as Range clearly is, he has gone to an awful lot of trouble to make a painfully obvious point about threats to civil liberties in a post-9/11 world.
  23. Cocaine is the most aggressively edited film in years: It pounds, it churns, it spurts, it spray-paints.
    • 69 Metascore
    • 50 Critic Score
    Although the film shows many photographs and videos of his performances, it never allows a particularly coherent assessment of any of them.
  24. Coppola brilliantly conjures the young queen's insular world, in which she was both isolated and claustrophobically scrutinized.
  25. This dame is as sick as a sick dog on a hot day, if still always perversely amusing, and the story is constructed as a survivor's ordeal, not a colorful picaresque.
  26. Stands with the best movies of this young century and the old one that preceded it: It's passionate, honest, unflinching, gripping, and it pays respects. The flag raising on Iwo might have indeed become a pseudo-event as it was processed for goals, but there was nothing pseudo about the courage of the men who did it.
  27. 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.
  28. 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.
  29. It would be nice to report that director Stanley Nelson comes up with something new, some illumination, some revelation, some heretofore unglimpsed irony, but he doesn't.

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