Portland Oregonian's Scores

  • Movies
For 3,259 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 5.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Riding Giants
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,259 movie reviews
  1. There's a nifty shootout at the Guggenheim Museum and a lot of scenic travel, but little in it compels.
  2. There's a conflict between the film's need for some sort of closure and the messiness of the reality it depicts that leaves The Whistleblower even more unsatisfying than it was meant to be.
  3. It's a stylish work, seeping with brilliant animation and potentially interesting characters that didn't need so much time to establish themselves. It's worthwhile, but it's a good thing there's a television show to refer to.
    • 66 Metascore
    • 58 Critic Score
    Although there's a twist in this tale, most of it is stuff we've seen before. And Wingard doesn't think of a new way to show it.
  4. Air America is a pretty good blend of action, drama and rough comedy, although the comedy and adventure come out on top. [13 Aug 1990]
    • Portland Oregonian
  5. Doesn't demand much of the audience, sure, but it doesn't provide much, either. It's as if an all-star gang of would-be crooks got together to rip off...moviegoers.
  6. The film has about five endings, each sillier than the next. Before it's over, the business end of that sniper rifle looks kind of inviting.
  7. So, be warned: You may not learn anything from this mild, unremarkable film, but you might be tempted to order the deluxe, four-volume “The Complete Calvin and Hobbes” after watching it. I was, and I don’t regret it a bit.
  8. The film is built as a series of (possibly tall) tales that don't add up to a plot, a theme or a purpose.
  9. It's clear that Fidell meant to craft a nonjudgmental, non-exploitative exploration of this taboo situation. And she deserves credit for avoiding both tawdry melodrama and earnest moralizing. But by refusing to judge or exploit, she ultimately ends up without much of interest to say on the topic.
  10. Singleton just may be challenging us to laugh at the film or with it and then feel extremely uneasy for doing so. If so, that's admirable; if not, he's made a very strange soap opera.
  11. A middling contender in this summer of gigantoid sequels.
  12. For all its attempts at wrinkles and surprises and sleight-of-hand, Ocean's Thirteen is too direct and plain and pleased with itself to ever feel like a thriller.
    • 31 Metascore
    • 58 Critic Score
    You'll forget it tomorrow, but it's fun while it lasts.
    • Portland Oregonian
  13. By trying to inflate one remarkable life story into the chronicle of a generation, Daniels fills what could have been an inspirational, personal saga with a lot of hot air.
  14. RV
    With the exception of one long improv riff on a campground basketball court, Williams nicely underplays his role. Unfortunately, Sonnenfeld also underplays his. We should expect more of him.
  15. Perhaps a better moniker would have been "One Flew Over My Left Foot."
  16. The hearty performances are undone by the forced eccentricity of the sets, the clothes, the music and, especially, the characters. The film is ugly and facile and childish in its love of its own naughtiness. Only Jill Clayburgh, as a creepy woman in whose home Augusten must live, feels human. The rest is no more real than a "Simpsons" episode -- and offers fewer laughs.
  17. The standout is Baldwin, utterly convincing as a gruff cuss whose life has been forever stained by the death of his wife.
  18. Instead of a unique directorial style and a memorable soundtrack, we get a movie that, visually and aurally, pretty much goes by the book.
  19. There's potential here, as well as in Junn's touching relationship with a fellow resident at the home, for real intensity, but Khaou insists on sticking with a glacial pace and lip-trembling emotional repression when a little bit of melodrama might have gone a long way.
  20. In their hands [Terry Gilliam or Tim Burton or even Steven Spielberg], Harry Potter and the Sorcerer's Stone might have made as terrific a movie as it is a book. When Columbus got the job, however, it was guaranteed only to be a commercial success.
  21. If it's meant as a retort to anti-Semitic doctrine, it's far too episodic, anecdotal and lacking in specifics.
  22. The real star of the film is Horton, whose straight-talking ways and supportive circle of friends are a stark contrast to the haughty insults of academia.
  23. Myers' Cat, with a voice that crosses Bert Lahr's Cowardly Lion with Mel Blanc's Bugs Bunny, is generally fun, possessed of an anarchic playfulness that balances his sometimes bawdy tendencies.
  24. Well-intentioned but underdeveloped and self-satisfied, it feels at times like the ultimate movie for the millennial generation, or at least its stereotype.
    • 61 Metascore
    • 58 Critic Score
    Adult World is amusing, if a bit by the numbers.
  25. Everything feels flat and listless, like an August afternoon in the city with no air conditioning. Hoffman shambles through his scenes, no spark in his eyes, getting it done without the energy and spirit that was his stock in trade.
  26. Politics and art come together in predictable, moderately enjoyable fashion in Paris 36.
    • 36 Metascore
    • 58 Critic Score
    It has some good actors, and some quick dialogue, which also has the feel of real-life. But the plot forces things a bit, and the direction is uncertain; just when it seems willing to take some risks, it retreats.

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