Portland Oregonian's Scores

  • Movies
For 3,113 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 Ghost in the Shell 2: Innocence
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,113 movie reviews
  1. At the end of Martian Child, we're told the movie is "inspired by actual events." But the movie isn't even fully inspired by David Gerrold's source novel that was inspired by actual events.
  2. Talky, didactic and essentially free of any real narrative, it views Iraq through the lens of Vietnam, which is fair enough, but ends up making the whole polemic seem like a condescending effort from aging baby boomers to get the younger generation to step up to the plate.
  3. The movie is not so much horrible as it is drab -- from its lazy plotting to its uninspired yuks to its cop-out ending to its relentlessly yellow-brown sets. "Mad Money" does little more than take up space, and you will be two hours closer to the grave when you leave the theater.
  4. The only bright spot is Marsden, a great actor who's always stuck playing the less-desirable romantic rival (see: "The Notebook," "X-Men," "Superman Returns"). He finally gets the fun-guy role for a change and does everything he can to rip it up. He can only do so much.
  5. Yet another mediocre-to-lame thriller shot in Portland.
  6. To be fair, Rudd and Bell are cute and funny in their scenes together, and Rudd salvages a few laughs with his deadpan line readings.
  7. Three stories in one. This might be two stories too many.
  8. As a chronicle of an extreme surfing subculture, Bra Boys is semi-fascinating. As a chronicle of rough-and-tumble street life, it's appallingly biased and self-glorifying.
  9. After the initial charm wears off, the whole thing gets check-your-text-messages dull.
  10. An old-fashioned story of courage and self-sacrifice in the face of war and deprivation. It's also sappy, boring and obvious.
  11. Unlike its predecessors, this one doesn't even try to aspire to myth. It aspires only to merchandising.
  12. Grabs a fistful of hot-button story elements -- race, sex, politics -- and promptly mixes them into the thriller equivalent of tapioca.
  13. A movie full of actors improvising their idea of how cops in a Scorsese flick would talk. It's a special sort of cartoonishness, a hard-to-pin-down brand of emotionally grandstanding fakeness you sometimes see in movies trying way too hard to be "gritty."
  14. For those disappointed in the grim, gritty feel of the latest James Bond movie and who long for the absurdity of the Roger Moore-era entries, Transporter 3, ought to fit the bill.
  15. Bees is a movie in which a bunch of powerful African American women get their lives upended and in some cases destroyed so a little white girl can feel better about herself.
  16. The script is just all kinds of terrible. The characters are hollow mannequins telling a thin, depressing story that's less of a noir and more of a simple-minded bummer full of barely connected scenes and stunningly empty dialogue.
  17. What damage could Michael Bay inflict on Jason Voorhees that earlier producers hadn't already inflicted on everyone's favorite hockey-masked serial killer? Well, Bay could make Jason Voorhees ... boring.
  18. Director R.W. Goodwin (an "X-Files" vet) makes a fatal mistake: He never takes a clear stance on the material he's spoofing.
  19. It's exactly the film Jarmusch wanted to make, but it's also smug, excruciating, borderline pointless. You could call it a deliberate effort to invert the conventions of the thriller; you could also call it, more rightly, a self-deluded disaster.
  20. The film is flat and false in the exact same way that director Anne Fletcher's last rom-com, "27 Dresses," was flat and false.
  21. For a ripped-from-reality film about love and death and family strife in the face of the war in Afghanistan, Brothers is awfully artificial.
  22. A facile, feel-good fable that substitutes cliché for reality at nearly every turn.
  23. The movie starts out as a potboiler with a troubling character arc; unfortunately, it ends up becoming a goofy, story-overwhelming Rube Goldberg contraption that would make the producers of the "Saw" series blush.
    • tbd Metascore
    • 42 Critic Score
    I am not qualified to refute every claim made in this movie, but I have seen enough topical documentaries to have a good idea when a filmmaker is not being entirely honest with viewers.
  24. It’s offensive, really, this blatant pandering to emotions.
  25. Whether Elia Kazan could have done something memorable with this script will remain an eternally open question. This film, though, is most effective as a reminder that Williams' works emerged from a certain time and place, and to approach them from another is fraught with peril.
  26. fFat, dull drag.
  27. This final act goes on far too long and devolves into such a miasma of pap that it's clear Stoller had no idea how to wrap things up.
  28. Here the homages/critiques of old craft and form are often laughably mangled, and nothing sexy, profound or illuminating results. For all its prettiness, it's the sort of picture that gives the arthouse a bad name.
  29. Brainless, witless, inept, ugly and crude,

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