Portland Oregonian's Scores

  • Movies
For 2,980 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 6 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Toy Story 3
Lowest review score: 0 Rollerball
Score distribution:
2,980 movie reviews
  1. Coogan makes tremendous sport of himself, taking on a role as an adulterous, vain, anxiety-riddled, alcoholic and truly comic creep. Brydon is exquisitely droll as the straight man to this ugly comedian act.
  2. The result is a gripping film which, despite the annoying rugrat, demonstrates how part of leaving childhood behind is learning how and when to lie, and to do it well.
  3. Throughout, Sophie exhibits the quality common to all of history's great martyrs, a preternatural calmness that perseveres despite (or perhaps because of) the inevitability of her doom.
  4. V for Vendetta puts its ideological intent first, and happens to provide smashing entertainment only as a vehicle for delivering its message.
  5. You're either on the boat or off the boat with something like this. But for those willing to brave the open water, it's an awe-inspiring ride.
  6. This isn't much of a plot, but as in the "Toy Story" films the combination of a varied cast of characters and a vision of the human world from an unlikely perspective make for consistent amusement.
  7. A bright, sexy, globe-trotting and very French romantic comedy.
  8. If you're content to let dream logic take over, a lot can be gleaned from this odd, darkly funny meditation on life, death, love and revenge.
  9. In a film culture in which contrived tomfoolery and overinflated emotions stifle in their effort to provide comedy and romance, something as light and precise as The Puffy Chair feels like more than an exception; it feels like fresh air.
  10. Monster House makes its intentions clear: It wants to wrap you in a thick, warm blanket of 1980s nostalgia.
  11. The halting dialogue, full of awkward pauses and restarts, seems improvised in the way that only carefully scripted material can.
  12. The Queen is all-together remarkable not only for what it is but for what it isn't.
  13. Like "In the Bedroom," the film is studded with brilliant acting, and it's all rendered with gorgeously fluent technique. The result is a film that skirts cruelty and easy satire for deep, troubling realities -- a nearly thorough triumph, in short.
  14. It isn't in the same league as the director's best work, chiefly because it lacks the bravura flourishes of cinematic craft that helped make his name. But it's so vital and bloody and funny and wicked and tense and unapologetic that it feels kin to those films, which little of the director's work of the past decade has managed to pull off.
  15. Like "Private Ryan" and "Band of Brothers," it fills in our sketchy impression of that famously reticent generation of ordinary young men who were asked by a frightened world to accomplish an extraordinary feat. In this case, the homage takes the form not of a photograph or a statue but of a deeper, more sympathetic understanding of their experience. A finer tribute is hard to imagine.
  16. A riveting and impeccably researched documentary.
  17. In Volver, the latest marvel to emerge from his sharp and joyful mind, Almodovar blends autobiography, gossip, melodrama, music, the supernatural and the suffocatingly quotidian in a story about a woman -- indeed, a tribe of women -- struggling through a life of pain and disappointment.
  18. Nominated for an Oscar for best documentary feature, it's deeply humane and even more deeply unsettling, in a way that most documentaries about Iraq, which tend toward the polemic, never manage.
  19. Letters isn't a fun night at the picture show. It's slow and gloomy and achingly tragic. But it's a truly impressive achievement both in moviemaking and in its understanding of history.
  20. It's the type of film that may be forgiven its imperfections when they are compared with the vastness of its accomplishments.
  21. A man can be a treasure just as a work of art can be, and O'Toole is one of the handful of living film actors worthy of a museum of his own. Venus would make a brilliant final exhibit.
  22. Oacks more heat, acid, danger and drama into its brief running time than most films of nearly double the length.
  23. The film combines farcical and sinister tones, as well as textures of high polish and captured-in-the-raw neorealism, and it simply brims with energy and surprises.
  24. You might not be able to picture yourself in such a life, but you'll be glad that it persists.
  25. It's a riveting character study/soap opera.
  26. It's a wonderful debut, despite all the pain you may feel watching it.
  27. Weaver is hilarious and horrifying.
  28. Music aside, what finally puts Once over and makes it a film you can watch more than once is its slight but thoroughly credible realism.
  29. The first of von Trier's efforts to be certifiably farcical.
    • 62 Metascore
    • 91 Critic Score
    As writer/director, he manages to make both Morrison and the period seem real without being self-conscious, an observed milieu rather than a film set. [01 Mar 1991]

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