Portland Oregonian's Scores

  • Movies
For 3,264 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 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Metallica: Some Kind of Monster
Lowest review score: 0 Rollerball
Score distribution:
3,264 movie reviews
  1. For all its handsome decor, tasteful restraint and old-fashioned look-and-feel, is a stiff, lacking tension, sizzle, drama, energy, appeal and, finally, purpose.
  2. Cthulhu (kuh-THOO-loo) shows that you can't go home again. Seriously: Don't ever go home -- you'll be sorry.
  3. While it's hard to dismiss his intention or effort, Harrelson's one-note performance sinks the film.
  4. Sporadically funny, bland, talent-wasting junk.
    • 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.
  5. Kind of a drag.
  6. In drama, tone, character and examination of the social issues tormenting these kids, Wassup Rockers is . . . taxing.
  7. Maybe you can skip the movie and just watch the credits.
  8. The film oddly mirrors "The Passion of the Christ," as a show trial leads inexorably toward an almost sadistically filmed public execution (it doesn't hurt that Jim Caviezel plays the reporter). Like that movie, it gets its point across with all the subtlety, sorry to say, of a rock upside the head.
    • 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.
  9. I love that fanboys fought for Fanboys. Unfortunately, their passion was misplaced.
  10. Unfortunately, it just doesn't come together. The animation ranges from crude approximations of Terry Gilliam's cutout style to borderline puerility, and the entire enterprise strives far too desperately for the sort of irreverence that Chapman could conjure with a cock of his pipe-clenching head.
  11. Surprisingly dreary kidnapping drama.
    • 38 Metascore
    • 50 Critic Score
    Its director, Rob Reiner, is 67 himself. So his film takes a less ageist tone, seeing its characters – played by Michael Douglas, 69, and Diane Keaton, 68 – not as old people but simply as people, living vital but complicated lives. If only the movie itself were as vital and complicated.
  12. A lifeless, confused mess, peppered with laughs, yes, but illogically and crudely plotted and smothered in tonedeaf music cues.
    • 59 Metascore
    • 50 Critic Score
    The only genuine laughs come from Peter's self-sabotaging inner monologue.
  13. But with a potentially fascinating study of ethics, of how cheating rich boys become cheating rich men while humble souls do more good in the world, The Emperor's Club doesn't take the audience anywhere smart.
  14. Think of the worst Spielberg thriller or one of Hitchcock's dull late career works, then make it ugly and fill it with bad performances; voila: The Happening.
  15. That the film rises above that level to the merely mediocre is an accomplishment of almost heroic proportions.
  16. 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.
  17. 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.
  18. Leaves you exhausted and even bored.
    • 41 Metascore
    • 50 Critic Score
    It's mostly full of schlock.
  19. 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.
  20. 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.
  21. 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.
  22. An effective, low-budget horror movie is lurking at the edges of Horns but never gets a chance to reveal itself.
  23. At 80 minutes, it feels truncated and abandoned -- a sketch of a comic thriller rather than the real thing.

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