Portland Oregonian's Scores

  • Movies
For 3,088 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 Shakespeare Behind Bars
Lowest review score: 0 The Heartbreak Kid
Score distribution:
3,088 movie reviews
    • 45 Metascore
    • 50 Critic Score
    It starts off well enough, and Solanas has a marvelous sense of space and style. But he doesn't develop its story and doesn't truly draw out its characters.
  1. There's visual poetry here, in small doses, but it doesn't take long for one's patience to run out.
  2. As far as the company Redford keeps, I liked it better when he hung out with Paul Newman and Sydney Pollack, but those days are long gone.
  3. The action scenes and plot points frequently defy logic, the apparent assumption being that it's just comic-book stuff and doesn't really need to make sense.
  4. Aselton is clearly trying to broaden her reach as both actress and director beyond the rumpled indie comedy of "The Freebie," her directing debut, and the concept is there, but a movie like this needs a much more polished execution that Black Rock gets.
  5. Man of Steel has too many characters and too much plot, resulting in a movie that feels overstuffed and overlong.
  6. It's probably not a good idea to examine the political content of a film in which the leader of the free world proves that the pen is mightier than the sword by stabbing someone in the neck with one.
  7. Miller, who's still trying to find her way as an actress, isn't bad, and the Iranian-born Farahani is convincing, but their characters are blandly angelic, in stark contrast to the vast majority of men they encounter.
  8. Bening and Dillon both play roles they could act in their sleep, though it's still moderately fun to watch them do so.
    • 47 Metascore
    • 50 Critic Score
    Willis appears to have finally grown bored of his own shtick, and Malkovich spends most of the movie looking humiliated.
  9. Problem Child has moments, or perhaps instants, of misanthropic satire. There also are stroboscopically brief flashes of psychological irony or cleverness. [30 July 1990, p.D8]
    • Portland Oregonian
  10. There's a potentially innovative teen comedy in here somewhere, but it's surrounded by one that's much duller.
  11. The movie's fast pace, and the three gleeful central performances, keep I'm So Excited! mostly painless. But the rest of it has a whiff of the sort of desperation that can make an exclamation point in a title seem like a good idea.
  12. 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.
  13. As with so many of his appearances, Franco manages to bring a jolt of energy to the film even while skewering its credibility.
    • 42 Metascore
    • 50 Critic Score
    The Austen cosplay is too exaggerated, as are the other guests.
  14. Blumberg tries to split the difference and ends up with a movie that wants us to make us laugh and cry, but fails to do either.
  15. Eventually the movie wants to have things both ways: to approvingly entertain mainstream audiences with the glittering spectacle of space battles and to pay lip service to the notion of conscience.
    • 49 Metascore
    • 50 Critic Score
    Some of the performances -- Mitchell, Fischler and especially Lucas -- are lively, but Barr never gets under Kerouac's skin to show the pain of an artist who can't hold his life together. It's a tragedy, played entirely on the surface.
  16. There’s nothing approaching a unique take on the story.
    • 53 Metascore
    • 50 Critic Score
    The Book Thief renders a dark history in the most bland and inoffensive hues. Most of its success relies on our foreknowledge of history. Its own efforts are hollow, squandering a good cast on lazy writing.
  17. The movie is beautifully shot, and some of the scenes have a real exuberance, but it's also a blatantly manipulative piece of smarm.
    • 49 Metascore
    • 50 Critic Score
    Rush gives everything he has and manages to make Oldman (such an obvious name) into more than an automaton. Not so Sylvia Hoeks, who struggles to make Claire any more alluring than oil dripped on canvas.
  18. While it's nice to see Reitman try to branch out from the hip, acerbic humor of "Juno" and "Young Adult," his clumsiness with this more earnest material is an unpleasant surprise.
  19. Aggressively loud, terminally mediocre.
  20. Sobol, directing his second feature, should have been able to prod this story to life, especially considering the cast he was provided. But everything proceeds in such an orderly fashion, right through the ostensibly 'twist' ending, that maintaining interest is a serious challenge.
    • 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.
  21. In a movie that strives to offend with every spat profanity and cruel insult, the most shocking thing about Bad Words is that it expects us to care about its main character at all.
  22. Goodbye World will remind you more of "Gilligan's Island" than "Lost."
  23. The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.

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