Portland Oregonian's Scores

  • Movies
For 3,068 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 An Education
Lowest review score: 0 Summer Catch
Score distribution:
3,068 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Aggressively loud, terminally mediocre.
  8. 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.
  9. 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.
  10. Goodbye World will remind you more of "Gilligan's Island" than "Lost."
  11. 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.
    • 41 Metascore
    • 50 Critic Score
    It's mostly full of schlock.
  12. Partridge is a smidgen less abhorrent here than in previous incarnations, but just a smidgen.
    • 56 Metascore
    • 50 Critic Score
    The potentially huge audience for Million Dollar Arm deserves a better movie, less derivative and cynical and more like something real.
    • 69 Metascore
    • 50 Critic Score
    Palo Alto is "Fast Times at Ridgemont High" without the wit; "River's Edge" without the depth. It's like reading a first novel by a talented writer who has something to say but isn't yet sure how to say it.
  13. 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
  14. For all the film's patness and lame predictability, Candy gives it a strange charm. He seems to be inherently funny, and his subtle weirdness, so useful on SCTV, is handy here as well. It helps make seeing Uncle Buck marginally worthwhile. [18 Aug 1989, p.E13]
    • Portland Oregonian
    • 37 Metascore
    • 50 Critic Score
    This is the sort of film that only makes sense as a rental, with, perhaps, a couple of friends and a very generously mixed pitcher of margaritas.
    • 39 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.
    • 71 Metascore
    • 50 Critic Score
    Get On Up never finds its rhythm. Blame most of that on director Tate Taylor.
  15. 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.
    • 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. To be fair, the film is trash and doesn't aspire to very much, but it's bad trash -- inept -- and that really isn't forgivable.
  17. The clothes are worth it; nothing else is.
    • Portland Oregonian
  18. Watching Rocks shows, we know he's sharper than the average actor. But watching him flail and play funny in movies that aren't as smart as him is simply depressing. Someone give this man a good role. And please, let him do a few more takes -- these scenes can't be his best efforts.

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