Portland Oregonian's Scores

  • Movies
For 3,258 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:
3,258 movie reviews
  1. Crowe understands what's interesting about Nash: He's not a feel-good figure. It's a pity the same can't be said for Howard.
  2. The story sounds horrifying, but the film takes some unfortunate twists and never presents us with a multifaceted character in Paxton. Paxton just doesn't play the nice-but-nuts role with a modicum of terror.
    • 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.
  3. Though not terrible, and blessed with some nice performances, this Irish-eyes-are-smiling-despite-the-rain-and-nasty-nuns story is Hallmark Hall of Fame material.
    • Portland Oregonian
  4. It's as beautifully acted throughout as it is photographed, and it has a quizzical tone somewhere between sociological documentary and farce. [22 Aug 1989]
    • Portland Oregonian
  5. 360
    As the action moves from Vienna to Paris to London to Denver to Phoenix and then back again, the vignettes blur into one another.
  6. What the picture doesn't do is make sense of the world it tries to depict, or even, truly, depict it. Biggie -- and, for that matter, Woolard -- deserved better.
  7. 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.
  8. The end result is mediocre, slightly sloppy and a mild waste of a great cast.
  9. Really, we'd rather just watch a good documentary about the subject. And as the camera flings around, we occasionally forget about what could help the teens and think more about what could help the director: How about a tripod?
  10. Dazzling to look at but dreadful to listen to, the film is a tug-of-war of coolness and dreck.
  11. A flawed fable but an intriguing one nonetheless. It's "Splash" gone existential. How many films can you name like that?
    • Portland Oregonian
  12. 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.
  13. 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.
  14. 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.
  15. The storyline would appear trite and the message muddled even to someone who'd never heard the name Mel Gibson.
  16. 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.
  17. 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.
  18. 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."
  19. It's not a disaster: Branagh is an actor's director, and there are biting moments throughout and solid performances from Caine and Law.
  20. 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.
  21. A movie that tells -- or rather, circles -- the story of the band's formation and abortive career.
  22. A recent article in Film Comment magazine praised Saint Laurent for avoiding "banal psychologizing," but Bonello avoids any insight into his subject's state of mind, banal or not.
  23. Marcus, like the real-life Jackson, survives being shot nine times. But this film is dead on arrival.
  24. You might be better off reading the book and imagining Nolte as Socrates.
  25. 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.
  26. The movie never recovers from its cheesy center.
  27. 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.
  28. A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.
    • Portland Oregonian

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