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 Raising Victor Vargas
Lowest review score: 0 Rollerball
Score distribution:
3375 movie reviews
  1. Thirty-five years since its debut, The Conformist is still a stunning, challenging, transporting film.
  2. It's a celebration of American female screen acting, it's a study of early feminism that feels relevant today, it's a carefully mounted exercise in period filmmaking and it's a beloved novel come to life for the fourth time. [23 Dec 1994]
    • Portland Oregonian
  3. A near-perfect movie.
  4. The timing and cutting of the film are terrific, the build-up to an absurdly hilarious climax is just right, and the performances are near perfect.
    • Portland Oregonian
  5. It is affecting, accomplished, witty, poignant and memorable.... Unstrung Heroes is one of the year's best films. [22 Sep 1995]
    • Portland Oregonian
  6. The experience of watching Carol is like being pulled into a different place, real and not real, like the best movies, like being in love.
  7. In the year's least surprising news, Toy Story 3 continues Pixar's near-perfect streak.
  8. A stunning film.
  9. With a level-gazed approach to its milieu, empathetic but clear-eyed, Winter's Bone practically makes up for 40 years of "Deliverance"-style hillbilly cartoons.
  10. The best-looking, best-scripted and funniest of Smith's pictures, it's also Smith's sharpest.
  11. Almost more valuable as a piece of foreign policy than as the highly accomplished work of cinema it is.
  12. The acting is flawless, the world feels utterly real, and the finale accomplishes the miracle of finding in the everyday world something profound.
  13. Eastwood has crafted one of the most powerful American dramas in years.
  14. Simultaneously modern and yet gorgeously primitive with its budget sets and simple but influential score, this is not just a film re-release but a film event.
  15. It's an ambitious, passionate, grief-stricken work of film art.
  16. Utterly thrilling and enthralling, a commercial film that paces itself wonderfully, never allowing the action or romance to outweigh its story and characters. For mainstream adventure fare, that's quite an accomplishment.
    • Portland Oregonian
  17. A spell-binding, engaging and often breathtaking work in which exquisite sets, costumes, photography and music combine with top-notch acting and out-of-this-world fighting scenes.
    • Portland Oregonian
  18. Can a film so expertly capture the odious and bitter that it becomes deliciously, disgustingly beautiful? Yes, if that film is 1957's Sweet Smell of Success.
  19. After Life is a thoroughly original, wholly realized work that leaves a profound and nagging bug in your brain for days after you've seen it: What in your life is worth holding on to? What one thing would you wish never to forget? It's a question as relevant to the lives we live each day as it is to our final moments. [24 Sept 1999, p.26]
    • Portland Oregonian
  20. Gravity isn’t as ambitious as “2001,” but then, what is? It is, however, absolutely a worthy successor, a masterpiece of hard science fiction, and the movie to beat at this point for next year’s cinematography and visual effects Oscars.
  21. This edition -- clean and tight as Scott would have it -- presents a strong case for Alien as both the greatest horror film and the greatest science-fiction film ever made.
  22. This deadpan ode to living life to its fullest could be the ultimate crowd-pleaser at this year's PIFF.
  23. Innocence revisits imagery from the first film. But this time computer animation pumps everything up to epic proportions. The results are overwhelming.
    • 74 Metascore
    • 100 Critic Score
    The miracle of Some Kind of Monster is Berlinger and Sinofsky's ability to make us root for these self-absorbed man-children.
  24. As an artist who can craft an ebullient postmodern pastiche but maintains links to an idiosyncratic heritage, Amirpour has instantly become one of the most exciting, globally relevant filmmakers working today. Her film is a testament both to her own creativity and the infinite elasticity of the vampire mythos.
  25. An alternately harrowing and poetic take on the fatal 1982 hunger strike of Irish Republican Army prisoner Bobby Sands, Hunger is also one of the most impressive feature directing debuts in years.
  26. Ran
    In many respects, it's Kurosawa's most sumptuous film, a feast of color, motion and sound: Considering that its brethren include "Kagemusha," "The Seven Samurai" and "Dersu Uzala," the achievement is extraordinary. [01 Dec 2000, p.26]
    • Portland Oregonian
  27. The animation is even more mind-blowing, if that's possible. The characters and objects seem even more palpable and real than last time. There's a thickness to bodies of the human characters and an amazing attention to detail throughout.
  28. Films don't get more essential than this.
  29. It's so full-blooded, smart, sexy, tense and absorbing, so cleverly written and shot and cut, so filled with superb acting and music, so perfect in its closing moment, that it surely ranks with the most impressive debuts in world cinema.

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