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 Short Term 12
Lowest review score: 0 Fair Game
Score distribution:
3,264 movie reviews
  1. 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.
  2. 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.
  3. Lee is not an action director, and the movie often feels like it was made in the 1940s rather than set then.
  4. 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.
  5. It's merely a by-the-numbers coming-of-age film
  6. 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.
  7. 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.
  8. 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
  9. Jas some nice moments, a great soundtrack and some wonderful works by the dark-even-while-light Ricci.
  10. 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.
  11. It gives me no pleasure to report that the Pimentel biopic Music Within plays like a well-intentioned TV movie.
  12. 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.
  13. 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.
  14. While the film has visual verve, its faux-Fellini finale only underscores how remote, repetitive, uninvolving and contrived the whole enterprise is.
  15. 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.
  16. 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.
  17. Fine moments, images and performances stand cheek-by-jowl with the clichéd, the on-the-nose and the slightly dopey.
  18. An extremely weird and frustrating viewing experience. I think it's that way because Eastwood, 78, can't be bothered to wrangle the vast material into a tighter shape.
  19. The film strives to be poetic, but it exposes nothing especially moving or relevant. Rather, the engaging leads wander around like actors lost in an ill-fated exercise in subtext.
    • 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.
  20. Passingly engaging. But you emerge from the film knowing as much -- or, indeed, as little -- as when you went in, and that's not exactly what documentary filmmaking is all about.
  21. Hs a single goal: to prod your tear ducts to open up. It is very, very good at this task. Whether The Notebook is good in any other respect is a bit more complicated.
  22. In the quest to purge this Cinderella of anything sly or post-modern, though, the filmmakers have eliminated any wit or distinction, making this a pre-modern disappointment.
  23. 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.
  24. 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.
  25. 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

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