Portland Oregonian's Scores

  • Movies
For 3,197 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 5.5 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:
3,197 movie reviews
  1. If you have a low opinion of the first "Cody Banks," and your kids drag you to this one, you may be tempted to do some food-flinging of your own.
  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. After getting off to a decent, somewhat muted start, Skeleton Key just gets sillier and sillier and sillier until it's yet another one of those stupid, noisy thrillers where everyone's running around in a house, yelling and falling down, and you're mostly wondering why nobody bothered to call the cops.
    • 44 Metascore
    • 50 Critic Score
    Mary Reilly tries, but fails, to revive the oft-told Jekyll and Hyde horror story. [23 Feb 1996]
    • Portland Oregonian
  4. A slick disappointment -- though there's much unintentional humor to be enjoyed.
  5. Almost totally emotionally bankrupt. But it's a very specific form of total emotional bankruptcy, one that feels honest and even uplifting at the time, because the actors are great and the direction's well intentioned and just-so.
  6. Dolphin Tale is inoffensive enough -- little kids will probably dig it -- and I'm not suggesting that family-friendly docudramas should tightly conform to real life. But when they do embellish, they should distill the story into something more compelling, rather than watering it down with pleasant-but-utterly-forgettable inspirational boilerplate.
  7. It's part action film, part buddy movie, part love story, part political tract and, in sum, much less: a meandering, preachy, condescending mess that only occasionally bursts into life and even then at such a tepid level that you can hardly call it living.
  8. The movie's excessive and logistically goofy in a way "Taken" wasn't.
  9. 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.
  10. Langella is solid as always, but his haunted, bitter character is pretty two-dimensional, and having to share all his scenes with Bentley doesn’t allow for much interplay.
  11. The movie is beautifully shot, and some of the scenes have a real exuberance, but it's also a blatantly manipulative piece of smarm.
  12. The movie's not good, strictly speaking, but it is kind of fun.
  13. So what is the picture saying? With its uneven tone, flat direction (on bad-looking digital video) and varied performances, very little.
  14. Works as pure escapist entertainment, but it's on the cusp of being smarter -- making it all the more frustrating.
    • Portland Oregonian
  15. So action-packed from start to finish that the final result is grating rather than thrilling.
    • Portland Oregonian
  16. County Clare holds little of interest, with a generic story line and a cast that's mostly just going through the motions.
  17. Sporadically clever and chilling.
  18. 'Bloodless' is the word for the whole enterprise.
  19. With Paul Rudd as the would-be mocker and Steve Carell as the mockee, and all manner of new supporting characters and plot lines thrown in, and much less energy, delight, wit, humor and fun than the original was able to muster without any evident strain. There's the occasional bubble, I confess, but almost no delight.
  20. Suffers from sludgy pacing, flat writing and acting, and a strange and puzzling fondness for scatology and coarse language.
  21. The only thing that could make this movie more French would be a guillotine.
  22. 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.
    • 50 Metascore
    • 50 Critic Score
    Will best be enjoyed on DVD. You can pop it in for the kids and spend the next 90 minutes or so doing something else.
  23. Unfortunately, the dialogue undermines the movie's promise.
  24. The script doesn't give Bigelow enough human stuff to balance the mechanical. For good or ill, like so many other submarine thrillers before it, K-19 is more about the machine than the men.
  25. Lest anyone think this soils Cera's record, the movie actually highlights his unique gifts; his easygoing chemistry with co-star Kat Dennings is practically the only thing about this picture that isn't pathetically contrived.
  26. Scattered and silly. If it evokes any strong feelings from you, it will probably be hunger -- the food all looks so good.
  27. The visual design of Mama is effective, at least in small, quick doses. But those are about all the positives for this example of why a solid audition reel doesn't necessarily mean you're ready to churn out a feature.
  28. You should come out of a film like Apres Vous with your heart as light and fluffy as a souffle. But this farce, credited to four chefs, er, writers, is as heavy and leaden as meatloaf.

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