Portland Oregonian's Scores

  • Movies
For 3,375 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 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The Count of Monte Cristo
Lowest review score: 0 Thomas and the Magic Railroad
Score distribution:
3375 movie reviews
  1. 'Bloodless' is the word for the whole enterprise.
  2. With Paul Rudd as the would-be mocker and Steve Carell as the mockee, and all manner of new supporting characters and plot lines thrown in, and much less energy, delight, wit, humor and fun than the original was able to muster without any evident strain. There's the occasional bubble, I confess, but almost no delight.
  3. Suffers from sludgy pacing, flat writing and acting, and a strange and puzzling fondness for scatology and coarse language.
  4. The only thing that could make this movie more French would be a guillotine.
  5. May be fairly funny, sort of sweet and slightly muddled, but one thing about it is utterly certain: It loves, loves, loves some bad cabaret.
    • 50 Metascore
    • 50 Critic Score
    Will best be enjoyed on DVD. You can pop it in for the kids and spend the next 90 minutes or so doing something else.
  6. Unfortunately, the dialogue undermines the movie's promise.
  7. The script doesn't give Bigelow enough human stuff to balance the mechanical. For good or ill, like so many other submarine thrillers before it, K-19 is more about the machine than the men.
  8. Lest anyone think this soils Cera's record, the movie actually highlights his unique gifts; his easygoing chemistry with co-star Kat Dennings is practically the only thing about this picture that isn't pathetically contrived.
  9. Scattered and silly. If it evokes any strong feelings from you, it will probably be hunger -- the food all looks so good.
  10. The visual design of Mama is effective, at least in small, quick doses. But those are about all the positives for this example of why a solid audition reel doesn't necessarily mean you're ready to churn out a feature.
  11. You should come out of a film like Apres Vous with your heart as light and fluffy as a souffle. But this farce, credited to four chefs, er, writers, is as heavy and leaden as meatloaf.
  12. It's the screenwriting equivalent of those fat substitutes used by snack food manufacturers: the finished product looks all right but the taste is off, and the aftereffects are embarrassing and uncomfortable.
  13. Unsurprisingly, the formulaic "Breakfast Club" casting yields a formulaic narrative.
  14. Aggressively loud, terminally mediocre.
  15. Stunningly photographed, acted with occasional bravura and structured with exacting precision, it fails to sing more than once or twice, and then only briefly. [2 Feb 1996]
    • Portland Oregonian
  16. Partridge is a smidgen less abhorrent here than in previous incarnations, but just a smidgen.
  17. The leads are just too good to commit fully to something this baldly formulaic. It's sad.
  18. It's unfortunate that the lack of originality in plot and character keeps Akeelah and the Bee stuck firmly in "After-School Special" territory.
  19. Short on both life and laughs.
  20. Those who watch Unbroken, Angelina Jolie's movie about Zamperini's life, only have to suffer for a little more than two hours, but it's a cruel and unusually harsh punishment.
  21. A hodgepodge of bits cribbed from such films as "Centurion," "Apocalypto," "300" and "Gladiator."
  22. The new footage adds almost nothing and feels like a lame, double-dipping cash-grab.
  23. You can't just rework a beloved Christmas classic, set it in reverse and expect it to run smoothly.
    • Portland Oregonian
  24. Starts with a flourish, staggers along for a bit and finally collapses -- even die-hard De Palma fans, will be left hungry.
    • Portland Oregonian
  25. Could easily be seen as little more than a commercial for his (Jakes) life-changing influence. Call him the first of a new breed: the cinevangelist.
  26. Unfortunately, the film's charm ends with the plot gimmick.
  27. Written and edited by Sayles, "Casa" is certainly the artist's baby, but he crams too much into a relatively brief running time. Worse, though it should be longer, we're not especially unhappy that it isn't, for being around these women gets tedious.
  28. As with so many of his appearances, Franco manages to bring a jolt of energy to the film even while skewering its credibility.
  29. A sequel that never rises to the giddy pitches of skewed humor that the original managed to toss off with such unexpected glee.

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