Portland Oregonian's Scores

  • Movies
For 3,078 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 Fair Game
Score distribution:
3,078 movie reviews
  1. Brainless, witless, inept, ugly and crude,
  2. Time to retire OSS 117's license to kill before any more innocent people suffer.
  3. Eat Pray Love is magazine-spread self-help bullcorn with the highest possible production values, and I wasn't having any of it.
  4. It isn't a lack of realism or philosophical consistency that rankles most, though, but rather the anticlimactic story and uninteresting characters that make this Hereafter not very sweet at all.
  5. With a self-plagiarizing premise, lifeless performances and a clunky-to-say-the-least screenplay, this star-studded flop is one of 2010's most egregious wastes of cinematic talent.
  6. The result is a hybrid of "Falling Down" and "Short Cuts" without the iconic central character of the former or the latter's clear-eyed humanism.
  7. The film is as one-sided and overstacked as anything her prosecutors dreamed up. And the craft of the thing is so pedestrian as to crawl.
  8. Kung Fu 2 does almost NOTHING to advance the story, to deepen the characters, or to charm, amuse or entertain.
  9. Jumping repeatedly and randomly from present-day Shanghai to 1997 to 1829 and periods in between, the film has a pace that seems almost willfully tedious.
  10. The potential for an interesting story is high. Unfortunately, Miller's autobiographical tale, as told in Blue Like Jazz, squanders this potential by failing to take place in a recognizably real world.
  11. Befitting a film about Edgar Allan Poe, The Raven is dark and grisly and ghoulish. But it also has qualities that Poe's work never does: It's dull and mechanical and, most of all, phony.
  12. The whole thing has the feel of a fact-based dinner-table anecdote absurdly puffed up to feature length.
  13. By the time the film reaches its convoluted, bombastic and preposterous climax, any sense of real magic that it once conveyed has utterly vanished.
    • 59 Metascore
    • 42 Critic Score
    Olivia Thirlby adds some humanity as the empath. And as the scarred queen of a drug cartel, Lena Headey chews the scenery, and some of her costars, with relish.
  14. One of the most lifeless and predictable movies you're likely to see this year.
  15. Very few will remember it in a few months, which is probably just fine with the folks who made it.
  16. The film looks old-fashioned, too, with cinematography and special effects so reminiscent of old-school, live-action Disney flicks such as "Something Wicked This Way Comes" that you wonder if it was an aesthetic choice or a budgetary concession. Either way, it doesn't work.
    • 28 Metascore
    • 42 Critic Score
    At this point, "Die Hard" no longer describes the franchise. It describes the fans who are still willing to turn out for the noise and nonsense.
  17. As is, the slapstick humor and mild repartee won't please many with a mindset above that of a 10-year-old, while the level of (admittedly fantastical) violence might be a bit much for the pre-teen set.
  18. It's almost too bad, then, that MacArthur and Jones take a back seat to the far less interesting Gen. Bonner Fellers in the stolid drama Emperor.
  19. The plot is simplicity itself, and Jaden's quirk-free character and bland performance don't add anything. It's actually a little sad that M. Night Shyamalan has descended to this sort of vanity-project work-for-hire, but at least he didn't insist on some absurd twist ending.
    • 37 Metascore
    • 42 Critic Score
    Refn's trying to make too little stretch too far.
  20. The Canyons comes across as a desperate gambit for relevance by a group of artists who want to reinvent themselves but don't know how. Fittingly, that's the theme of the film itself.
  21. Closed Circuit ultimately feels like a cynical attempt to capitalize on security-state anxieties while examining them in only the shallowest ways.
  22. Flat and uninteresting, both visually and dramatically, this is a waste of two appealing actors.
  23. It's the sort of movie that would have starred Valerie Bertinelli or Kristy McNichol back in the 1980s, tricked out with PG-13 grittiness and religious wholesomeness. It's the sort of story that ignores unpleasant social implications in favor of programmed sentiment.
  24. The story of the rescue of these priceless artifacts is absolutely worthy of as much attention as Hollywood can provide. But by the final, self-congratulatory, groan-inducing scene, it's more than clear that this telling of it is a monumental mess.
  25. The process of Farrell figuring out his divine purpose finally gets so convoluted and schmaltzy, it feels less like "destiny" and more like "cruel cosmic joke."
  26. When the fly trapped in the spider's web is as clueless and selfish as the sap played by Mark Webber in 13 Sins, it's hard to muster much sympathy.
  27. ASM 2 makes too many of the same mistakes that have brought other superhero movies low (including Sam Raimi's "Spider-Man 3"). It tries to pack in too many characters and plot lines, for one.

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