Portland Oregonian's Scores

  • Movies
For 3,370 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 4.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Far From Heaven
Lowest review score: 0 Underclassman
Score distribution:
3370 movie reviews
  1. Engaging characters, an unforced pro-girl agenda and amusing songs make this at least the equal to last year’s “Brave.”
  2. Flashes of dark humor and steady, grounded performances make it a welcome return for Miller, making her first film since 2005's "The Ballad of Jack and Rose."
  3. The acting is superb across the board, and the film moves dreamily yet with razor-sharp precision, building to a sequence of deeply felt climaxes.
  4. Having heard tell of its wonders for decades, I found the actual movie less transporting than I'd been led to expect. It's clearly a brilliant debut.
  5. Sometimes a movie can defy rational logic, yet still make sense emotionally in a way that pulls you through. Bee Season is one.
    • 82 Metascore
    • 83 Critic Score
    Much has been made about the fact that the world's most popular fictional children are growing up and straight into that horror-filled no man's land of the human life span, puberty.
  6. Frighteningly, grippingly real.
    • Portland Oregonian
  7. Co-directors Nat Faxon and Jim Rash, who won an Oscar for writing "The Descendants," are smart enough to mostly stay out the way and let this talented crew bring their script to life.
  8. Israeli director Ari Forman, whose 2009 "Waltz with Bashir" earned a Best Foreign Film Oscar nomination, is a master at exploiting diverse animated styles, and draws a brave starring performance from a performer who, in her mid-40s, seems to be just hitting her stride.
  9. It's no insult to the rest to say that this is one of those films that sells itself on the strength of a single performance.
  10. The only scenes that felt "actorly" come when the pair drunkenly crash an ex-girlfriend's wedding party. Otherwise, The Messenger has a verisimilitude rare in films tackling this subject matter.
    • 66 Metascore
    • 83 Critic Score
    There's a sense of diminishing returns here -- "Extremes" leads with its strongest short and ends with its most esoteric. But all three offer provocative, distinct and gorgeous twists on horror and splatter conventions.
  11. The longer it goes on, the more you're swept up into the jet stream of good feeling.
  12. One of those gratifyingly nostalgic works of art that accept the present day but remind us, as well, that the past wasn't necessarily worse.
  13. Funny and appalling, doting and possessive, petty and selfless, raunchy and righteous, Jeannie is the pivot of the charming, garish, somewhat overwritten Australian comedy Introducing the Dwights.
  14. 42
    Spike Lee wanted for years to make a Jackie Robinson film, and I hope he still gets his chance. Another take, maybe angrier or more polemic, could be fascinating, and the heroism of Jackie Robinson was significant enough to justify more than a few movies.
  15. Wonderful performances and the director's continual inventiveness make Junebug a particularly promising first feature.
  16. Effortless fun: It plays like a giddy horror movie with its laughs wrapped in couture gowns.
  17. The big star with the most unexpected chops, though, is Chris Pine, who runs with his Prince Charming role and, along with Billy Magnussen as Rapunzel's Prince, contributes the movie's best musical moment with the duet "Agony."
  18. Not only compelling and complex, but educational.
  19. Fleck and Boden point out the absurd humor inherent in mental illness without trivializing its causes or consequences. This is not an easy trick, and it's largely thanks to Galifianakis' amalgam of wackiness and awkward sorrow that it works.
  20. This combination of fatalism, nostalgia and willfully naive optimism captures something essential in the Russian soul.
  21. His life stands as a testament to the idea that an average-looking bloke with a can-do attitude and a dream in his heart can rub shoulders with the folks the rest of us only get to read about. And he's got the photographs to prove it.
  22. Plot takes a back seat to style and attitude, as it often does in Jarmuch's world, which can make the last half-hour of the movie drag a bit. But when that means getting to hang out with two fascinating creatures of the night, played by two fascinating performers, that's a perfectly valid trade-off.
  23. Cumberbatch's scenes with Knightley are a model of how a buttoned-up character can open and reveal himself.
  24. There's much to enjoy in the lively, fun and fresh documentary Comic-con Episode IV: A Fan's Hope, but chief among them may be that its director, Morgan Spurlock, is nowhere to be seen.
  25. My Summer of Love, with its lush, sunlit landscapes, may occupy the opposite end of the visual spectrum, but it reinforces the sense that this director knows his way around the range of human emotion as well.
  26. Balanced precariously between a horror film and a war movie, but it's so sly and assured that you can't dismiss the allegorical, even satirical undertones that Cortés teases out of Sparling's conceit.
  27. The cinematic gloss serves to heighten our involvement in the tale, and to mark Fukunaga as a talent to be reckoned with.
  28. Director Matthew Vaughn has provided an imperfect but still wickedly hilarious take on Mark Millar's deconstruction of superhero mythos.

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