Portland Oregonian's Scores

  • Movies
For 3,167 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 A Girl Walks Home Alone at Night
Lowest review score: 0 M. Butterfly
Score distribution:
3,167 movie reviews
  1. Although 2012 is what they call "critic-proof," it's not immune to analysis. It depicts a world where no one, man or God, has much say in what happens to the planet, and where the survival of one family outweighs the deaths of billions.
    • 37 Metascore
    • 50 Critic Score
    The troubling thing about "Chuck & Larry" is the hypocrisy. It's a comedy that ridicules the people it's supposed to be championing.
  2. The story, as so often in bad farce, treats them all as idiots, so it's almost impossible be engaged by anything other than the pretty rooms, gondolas and costumes.
  3. King is good enough that you can't help but root for her. But frankly, I can't imagine paying full ticket price plus concessions for that privilege.
  4. The storyline would appear trite and the message muddled even to someone who'd never heard the name Mel Gibson.
  5. The nearest thing to W. E. is Sofia Coppola's "Marie Antoinette," which tried to make a sympathetic victim of another of history's most notorious royal wives.
  6. There are bits of this film that titillate, undeniably, but mainly you wait for the comic to bring out the big guns, and then he leaves you feeling more teased than tickled.
  7. The plot is straight off the shelf, the performances are television-caliber and the message of providing solace through deception is a little creepy. Then again, that formula resulted in record-breaking ticket sales for "Greek Wedding."
  8. It's not a disaster: Branagh is an actor's director, and there are biting moments throughout and solid performances from Caine and Law.
  9. In the end, the intelligence of the dialogue and crack acting are wrestled to the ground by the zealous politics, the formulaic narrative and a wan and flaccid air unusual from the reliably nifty Parker.
  10. A movie that tells -- or rather, circles -- the story of the band's formation and abortive career.
  11. Marcus, like the real-life Jackson, survives being shot nine times. But this film is dead on arrival.
  12. You might be better off reading the book and imagining Nolte as Socrates.
  13. The fun thing about Eclipse is watching Lautner emerge as the Han Solo of this series, getting all the laughs and calling Edward and Bella on their preciousness.
  14. The movie never recovers from its cheesy center.
  15. Despite some arresting visual flourishes and Downey’s inherent likeability, it’s nearly incoherent both as cinema and as story. No, this isn’t your grandfather’s or your father’s Sherlock Holmes, but if theirs featured Basil Rathbone or Jeremy Brett in the lead, it was better by miles.
  16. A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.
    • Portland Oregonian
  17. It's a forgettable series of bullet points barely strung together by charismatic performances.
  18. The performance of Bening (and, quietly, Irons) keeps Being Julia from being too tiresome.
  19. The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.
  20. Are Will Ferrell and director Adam McKay getting tired of their own shtick?
  21. As far as the company Redford keeps, I liked it better when he hung out with Paul Newman and Sydney Pollack, but those days are long gone.
  22. The picture's strength is comedy -- but the love and crime stories too often drag, falter or just plain frustrate.
  23. Chris Rock probably has a solid writer/director effort in him. This isn't it.
  24. The problem is that so little in this version of All the King's Men speaks to the here and now or even speaks clearly. It feels like a repertory exercise -- and not a very successful one at that.
  25. Fuqua has made three films before his newest, Tears of the Sun, and they've all begun well enough but then collapsed under the weight of his heavy-handed visual technique and his indifference to plot, character and logic.
  26. Hilariously, gut-bustingly, mind-blowingly, jaw-droppingly stupid.
  27. Decent performances aside, the only interesting bits involve Geoffrey Rush as a chemistry professor who enables their self-abuse.
  28. This film might've worked better as a comedy.
  29. Too sugary to be funny or offensive or even offensively funny, though any kind of funny would be welcome here.
    • Portland Oregonian

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