Portland Oregonian's Scores

  • Movies
For 3,158 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 Ran (re-release)
Lowest review score: 0 M. Butterfly
Score distribution:
3,158 movie reviews
  1. 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.
    • 67 Metascore
    • 50 Critic Score
    In this moody, claustrophobic almost-thriller -- the pacing is as sluggish as the Scottish canals that serve as its setting.
    • 47 Metascore
    • 50 Critic Score
    Scott apparently decided it was a good idea for his subtitles -- much of the film is in Spanish -- to shimmy across the screen, to fade in and out dramatically, and in general do even more to distract us.
  2. It's passable, but in telling the tale of a man known to attempt the risky drive, it's a shame the filmmakers decided to shoot for par.
  3. Hs a single goal: to prod your tear ducts to open up. It is very, very good at this task. Whether The Notebook is good in any other respect is a bit more complicated.
  4. Amazing-looking sequel to cult fave "Pitch Black"; unfortunately, the film's wrecked by a surprisingly weak, goofy script.
  5. Surprisingly dreary kidnapping drama.
  6. Forgettable teen piffle.
    • 59 Metascore
    • 50 Critic Score
    The film equivalent of the blind date described as "really nice." It's neither bad nor good, just sort of earnest and well-meaning.
  7. The trouble is, the kids seem to be in one earnest "After School Special"-type of movie, while the adults occupy a retro-futuristic world more like the original TV show.
  8. Terrific lead performances make this epic stoner comedy watchable but can't save it from flat direction.
  9. One too many scenes with Hartnett's genuinely unpleasant doofus drain away any investment in a film that's suddenly become an elaborate farce without jokes.
    • 60 Metascore
    • 50 Critic Score
    What's truly disheartening about Cellular is that just as logic has become a luxury in a thriller, so has anything resembling tension.
    • 59 Metascore
    • 50 Critic Score
    The only genuine laughs come from Peter's self-sabotaging inner monologue.
  10. The movie works reasonably well at this for its first half, but by then we've pretty much figured everything out.
  11. Does have its charms. While the videography and most of the supporting performances are amateurish, Clark and Caland are winning actors.
  12. Moves you with a couple of its grittier dramatic choices, but overall the film feels cheap, tugging a little too hard on the almost instinctual pride you feel when seeing a hero in fireman's outfit.
  13. With its lackluster surfaces and thin core, his (Russell) film displays neither heart nor brains enough to earn its whimsy.
  14. 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.
  15. Plays like a certain brand of indie film I hadn't seen in a while: the Self-Consciously Odd Journey of Self-Discovery Through the American Southwest, in which people learn Important Life Lessons while encountering "colorful" characters in small-town diners and motels amid the tumbleweeds.
  16. The performance of Bening (and, quietly, Irons) keeps Being Julia from being too tiresome.
  17. Nicolas Cageologists will be sad to hear that he's entirely too normal in National Treasure -- he's mildly funny but doesn't make any of the kooky dramatic choices (needless accents, ranting about the orifices of Greek gods) that made his other Bruckheimer performances so much fun to watch.
  18. Could have had charm if the characters had been more recognizable as human beings.
    • Portland Oregonian
  19. Imaginary Heroes feels like an endless series of wakes, awkward cocktail conversations and teen house parties, which would be fine if Harris wrote less cartoony dialogue.
  20. A painlessly light introduction to Bollywood moviemaking, but it far too often feels like run-of-the-mill Hollywood fare.
    • 63 Metascore
    • 50 Critic Score
    Seems likely to stir rebuttal from historians, especially those on the other side of the pond.
  21. The stifling piety of this film -- which regards anything old and vaguely arty as next to sacred -- needs some serious airing out.
  22. Leaves you exhausted and even bored.
  23. Manages to tell the story in generally taut, credible fashion, rising frequently on the strength of a gallery of fine performances even when the screenwriting becomes ordinary and Schumacher's touch becomes, as so often, crude and obvious.
  24. As it goes on and on and on, Coach Carter becomes more patience-testing than soul-stirring, proving that you can overdose on good intentions as easily as you can on evil substances.

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