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. To say that there is also a monomania to the film is, if anything, an understatement. But it is precisely that sense of tunnel vision that makes Fury Road such a pulse-pounding pleasure.
  2. A film that manages to avoid the dreary, Wikipediaesque literalism that plagues so many biopics while obliquely evoking the man and his era with textures, atmosphere, mood and tone.
  3. The Christian-themed Where Hope Grows wears its heart on its sleeve, hawking its message of salvation through faith to anyone who’s in the market for cheesy uplift and saccharine sentiment. It’s a soft sell, to be sure, but it’s salesmanship all the same.
  4. Iris serves as a spirited, often dazzling primer in how to fight the dying of the light and feel fabulous while doing it.
  5. A comedy that, if not always better than the first, is certainly more uproarious.
  6. As she demonstrated in “The Skeleton Twins,” the former “Saturday Night Live” comedian has grown so adept at rendering troubled characters without offering sideline commentary that you can’t help but fall in love with her, even as laughter gives way to uncomfortable silence.
  7. Writer-director Stephen Bradley may make some missteps, but he capitalizes on this underdog story’s inherent thrills.
  8. The performances are consistently first-rate from a cast of appealing actors who slip effortlessly into Farhadi’s naturalistic aesthetic scheme, which seems utterly unforced even at its most intricately staged.
  9. 5 Flights Up is far from perfect, but it’s also undeniably touching.
  10. I would call the movie a trainwreck, except it’s really four or five separate trainwrecks.
  11. The film suffers a bit for its slowness. But once you get used to the fact that this is not “World War Z,” it has its small pleasures, which are both cerebral and emotional.
  12. A modestly funny, little bit dark, occasionally knowing, not entirely cynical comedy that, to the extent that it succeeds at all, does so thanks to James Marsden.
  13. There isn’t one joke, sight gag or piece of slapstick tomfoolery that lands with any success or originality in Hot Pursuit.
  14. Georgian writer-director Zaza Urushadze avoids histrionics or moralizing, relying on a strong cast that expresses the film’s central argument about war’s absurdity largely through taciturn action, not words.
  15. Through some astonishing archival footage and perceptive commentary from Who guitarist Pete ­Townshend, the filmmaker puts the band in its complicated context as both reflector and creator of the postwar British teenage gestalt.
  16. The latest film adaptation of Far From the Madding Crowd will delight fans of period dramas. It checks off the required boxes with solid acting, gorgeous cinematography and all the frustrating, glorious emotional restraint that you expect from a romance set in Victorian England.
  17. The movie, not to mention the company, deserves praise for showing the challenges as well as the triumphs; Dior and I doesn’t shy away from conflicts when they arise. This isn’t marketing material. It’s a real look at a fascinating line of work.
  18. As he did in the first “Avengers,” writer-director Joss Whedon avoids the fatal trap of comic-book ­self-seriousness, leavening a baggy, busy, overpopulated story with zippy one-liners, quippy asides and an overarching tone of jaunty good fun.
  19. This calculatingly adorable coming-of-age tale has its delights — chiefly in a modest, endearing lead performance from Anton Yelchin and an amusing two-handed turn by Glenn Close and Frank Langella as his parents — but feels more constructed than lived.
  20. There’s never any question where this is all headed: a huge blowup argument and a tidy resolution. That being said, the cast is excellent.
  21. The heart of the movie is in the right place. And although some of the acting from the younger stars comes across as amateurish, a few performances truly shine.
  22. See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
  23. Little Boy is a as phony as a game of three-card monte.
  24. The Age of Adaline works best as a simple story of boy meets girl; girl falls in love; girl mulls whether or not to reveal that she’ll stay young forever. Everything else is just a lot of unnecessary noise.
  25. Crowe clearly seeks to return to classic storytelling values with this sweeping-yet-intimate, serious-yet-swashbuckling, hither-yet-thither picaresque; that he succeeds only part of the time shouldn’t detract from the worthiness of his mission.
  26. Olivier Assayas’s drama is intriguingly ambiguous and strangely constructed, and there seems to be symbolism lurking in every shot. Yet, despite acting that dazzles and no shortage of artistry, the movie is more fun to ponder than to sit through.
  27. At times, Unfriended really clicks — but ultimately, it’s a drag.
  28. Black Souls has a deep and startling soulfulness that, despite its shocking conclusion, is profoundly moving.
  29. If you can hang on for close to two hours with almost no resolution, it’s worth the ride.
  30. The movie was nicely shot with flashy graphics to explain the data that does exist. But in the end, this film will persuade only those who already believe.

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