Portland Oregonian's Scores

  • Movies
For 3,170 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:
3,170 movie reviews
  1. That the film rises above that level to the merely mediocre is an accomplishment of almost heroic proportions.
  2. Transplanting so much of the original story to a 21st-century setting only amplifies how badly the story has aged.
    • 71 Metascore
    • 50 Critic Score
    Get On Up never finds its rhythm. Blame most of that on director Tate Taylor.
    • 46 Metascore
    • 50 Critic Score
    A decent second chapter in the tourist horror saga.
  3. Director Jay Chandrasekhar ("Super Troopers") will never be mistaken for an artist. But he's competent with crude humor and manages to balance affectionate parody and rote imitation.
  4. Leaves you exhausted and even bored.
    • 41 Metascore
    • 50 Critic Score
    It's mostly full of schlock.
  5. May
    On paper, it sounds like the start of a good film. Too bad McKee made such a lackluster thing of it. Though the horror comes from an interesting place, it's frequently forced, negating much of the humor and pathos the film attempts to instill.
  6. 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.
  7. Putting it another way: When spoofs of bad singing and songwriting are the sharpest arrows in your quiver, and your politics are diluted until they hit about as hard as someone sticking their tongue out, your satire has a problem.
    • 46 Metascore
    • 50 Critic Score
    An effective, low-budget horror movie is lurking at the edges of Horns but never gets a chance to reveal itself.
  8. At 80 minutes, it feels truncated and abandoned -- a sketch of a comic thriller rather than the real thing.
  9. The movie pads the good stuff out with a bunch of mediocre mainstream-thriller junk. It takes too long to get started, it pulls some key punches, its dialogue is deeply uninteresting, it relies way too heavily on endless jump-scares and its finale is pure slasher-flick formula.
  10. A good test of a movie like this is whether it would be more or less stimulating to hang out with people you really know for 82 minutes. If Happy Christmas is the time better spent, it might be time to find a new crowd.
  11. Lee is not an action director, and the movie often feels like it was made in the 1940s rather than set then.
  12. I appreciate that talented people wanted to honor Shelly by making this film. They likely would have better honored her by mounting her script as a play.
  13. It's merely a by-the-numbers coming-of-age film
  14. It's a Ritalin-deprived sensibility, but it keeps you skating over the dull spots, in which the film unfortunately is rich.
    • 39 Metascore
    • 50 Critic Score
    Credit to Aaron Paul for fully committing to this ridiculousness. There isn’t a scene he doesn’t play with the utmost seriousness.
  15. Basinger herself doesn't have the vibrancy of a female hero.
    • Portland Oregonian
    • 55 Metascore
    • 50 Critic Score
    The Hundred-Foot Journey fails to replicate the sensation of sharing a quality meal. Movies of this kind should leave you feeling hungry. Compare the Indian love story "The Lunchbox" from earlier this year. You'd swear you could smell the tandoori chicken while watching it.
  16. Shrunk is a sometimes funny, occasionally clever comedy adventure. But the fun stuff consumes only about one-fourth of the film, nowhere near enough for a feature-length movie. [24 June 1989, p.C06]
    • Portland Oregonian
  17. Jas some nice moments, a great soundtrack and some wonderful works by the dark-even-while-light Ricci.
  18. Quality-wise, the crime drama Broken City lives in a frustrating mid-range area: It's too complex and competently crafted to dismiss as junk -- but it's also nowhere near sharp enough to work as the serious grown-up detective movie it clearly wants to be.
  19. It gives me no pleasure to report that the Pimentel biopic Music Within plays like a well-intentioned TV movie.
  20. Bening and Dillon both play roles they could act in their sleep, though it's still moderately fun to watch them do so.
    • 52 Metascore
    • 50 Critic Score
    A tedious let-down that will bore adults and only mildly amuse children.
  21. During one or two comic set-pieces, you can see the appeal that the Ya-Yas hold for readers. But you can also sense, farther in the distance, the more vital film that might have been.
  22. While the film has visual verve, its faux-Fellini finale only underscores how remote, repetitive, uninvolving and contrived the whole enterprise is.
  23. This one is shot, recorded and edited without so much as a pinch of craft -- it's one of the ugliest big studio films in a long while.

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