Portland Oregonian's Scores

  • Movies
For 3,373 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Wonder Boys
Lowest review score: 0 Summer Catch
Score distribution:
3373 movie reviews
  1. Ultimately, The Keeping Room feels more like a clumsy melding of "Unforgiven" and "12 Years a Slave" than a unique take on violence, race, and gender.
  2. In a movie that strives to offend with every spat profanity and cruel insult, the most shocking thing about Bad Words is that it expects us to care about its main character at all.
  3. Fine moments, images and performances stand cheek-by-jowl with the clichéd, the on-the-nose and the slightly dopey.
  4. An extremely weird and frustrating viewing experience. I think it's that way because Eastwood, 78, can't be bothered to wrangle the vast material into a tighter shape.
  5. The film strives to be poetic, but it exposes nothing especially moving or relevant. Rather, the engaging leads wander around like actors lost in an ill-fated exercise in subtext.
    • 45 Metascore
    • 50 Critic Score
    It starts off well enough, and Solanas has a marvelous sense of space and style. But he doesn't develop its story and doesn't truly draw out its characters.
  6. Passingly engaging. But you emerge from the film knowing as much -- or, indeed, as little -- as when you went in, and that's not exactly what documentary filmmaking is all about.
  7. Hs a single goal: to prod your tear ducts to open up. It is very, very good at this task. Whether The Notebook is good in any other respect is a bit more complicated.
  8. In the quest to purge this Cinderella of anything sly or post-modern, though, the filmmakers have eliminated any wit or distinction, making this a pre-modern disappointment.
  9. If you have a low opinion of the first "Cody Banks," and your kids drag you to this one, you may be tempted to do some food-flinging of your own.
  10. It's passable, but in telling the tale of a man known to attempt the risky drive, it's a shame the filmmakers decided to shoot for par.
  11. After getting off to a decent, somewhat muted start, Skeleton Key just gets sillier and sillier and sillier until it's yet another one of those stupid, noisy thrillers where everyone's running around in a house, yelling and falling down, and you're mostly wondering why nobody bothered to call the cops.
    • 44 Metascore
    • 50 Critic Score
    Mary Reilly tries, but fails, to revive the oft-told Jekyll and Hyde horror story. [23 Feb 1996]
    • Portland Oregonian
  12. A slick disappointment -- though there's much unintentional humor to be enjoyed.
  13. Almost totally emotionally bankrupt. But it's a very specific form of total emotional bankruptcy, one that feels honest and even uplifting at the time, because the actors are great and the direction's well intentioned and just-so.
  14. Dolphin Tale is inoffensive enough -- little kids will probably dig it -- and I'm not suggesting that family-friendly docudramas should tightly conform to real life. But when they do embellish, they should distill the story into something more compelling, rather than watering it down with pleasant-but-utterly-forgettable inspirational boilerplate.
  15. It's part action film, part buddy movie, part love story, part political tract and, in sum, much less: a meandering, preachy, condescending mess that only occasionally bursts into life and even then at such a tepid level that you can hardly call it living.
  16. The movie's excessive and logistically goofy in a way "Taken" wasn't.
  17. Manages to tell the story in generally taut, credible fashion, rising frequently on the strength of a gallery of fine performances even when the screenwriting becomes ordinary and Schumacher's touch becomes, as so often, crude and obvious.
  18. Aloft reminded me of the work of another Latin American filmmaker, Alejandro González Iñárritu, who made somber, constipated dramas such as "Babel" and "Biutiful" before loosening up and conjuring the lunatic profundity of "Birdman." Llosa has the intelligence and directing chops — Aloft looks fantastic — to do wonders, but she should take a cue from him and warm up by just chilling out.
  19. Langella is solid as always, but his haunted, bitter character is pretty two-dimensional, and having to share all his scenes with Bentley doesn’t allow for much interplay.
  20. The movie is beautifully shot, and some of the scenes have a real exuberance, but it's also a blatantly manipulative piece of smarm.
  21. The movie's not good, strictly speaking, but it is kind of fun.
  22. Legend offers two Hardys for the price of one but delivers less than a satisfying whole despite the efforts of its star(s).
  23. What's really offensive, to Hawaiians and mainlanders alike, is that after more than 50 years Hollywood can't make a better Hawaii movie than Elvis did. At least he could sing.
  24. So what is the picture saying? With its uneven tone, flat direction (on bad-looking digital video) and varied performances, very little.
  25. Works as pure escapist entertainment, but it's on the cusp of being smarter -- making it all the more frustrating.
    • Portland Oregonian
  26. So action-packed from start to finish that the final result is grating rather than thrilling.
    • Portland Oregonian
  27. County Clare holds little of interest, with a generic story line and a cast that's mostly just going through the motions.
  28. Sporadically clever and chilling.

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