Portland Oregonian's Scores

  • Movies
For 3,369 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 4.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 The Heartbreak Kid
Score distribution:
3369 movie reviews
  1. It's merely a by-the-numbers coming-of-age film
  2. 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.
  3. 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.
  4. 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
  5. Jas some nice moments, a great soundtrack and some wonderful works by the dark-even-while-light Ricci.
  6. 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.
  7. It gives me no pleasure to report that the Pimentel biopic Music Within plays like a well-intentioned TV movie.
  8. 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.
  9. 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.
  10. While the film has visual verve, its faux-Fellini finale only underscores how remote, repetitive, uninvolving and contrived the whole enterprise is.
  11. 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.
  12. Ultimately, The Keeping Room feels more like a clumsy melding of "Unforgiven" and "12 Years a Slave" than a unique take on violence, race, and gender.
  13. 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.
  14. Fine moments, images and performances stand cheek-by-jowl with the clichéd, the on-the-nose and the slightly dopey.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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
  23. A slick disappointment -- though there's much unintentional humor to be enjoyed.
  24. Almost totally emotionally bankrupt. But it's a very specific form of total emotional bankruptcy, one that feels honest and even uplifting at the time, because the actors are great and the direction's well intentioned and just-so.
  25. Dolphin Tale is inoffensive enough -- little kids will probably dig it -- and I'm not suggesting that family-friendly docudramas should tightly conform to real life. But when they do embellish, they should distill the story into something more compelling, rather than watering it down with pleasant-but-utterly-forgettable inspirational boilerplate.

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