Portland Oregonian's Scores

  • Movies
For 3,355 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 5.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Far From Heaven
Lowest review score: 0 Eban and Charley
Score distribution:
3355 movie reviews
  1. Blue Crush, which might appear exciting in an "Endless Summer"/"Where the Boys Are" kind of way, actually is really boring.
  2. Thornton restrains himself (especially compared to Downey and Duvall) until his cross-examination of Duvall, when he throws off that "Fargo" menacing restraint and throws it down. You go, Billy Bob!
  3. Takes its point -- our nation has an unhealthy obsession with beauty and physical perfection -- and uses it as a bludgeon.
  4. In Be Cool, a wonderful cast essays a lively script and manages to make a decent film out of it.
  5. Imaginary Heroes feels like an endless series of wakes, awkward cocktail conversations and teen house parties, which would be fine if Harris wrote less cartoony dialogue.
  6. As two-dimensional animation, Sinbad is passably attractive, reaching a visual height when it arrives in the surreal, shifting Tartarus.
  7. The movie isn't a complete disaster -- it's got a strong performance at its core from Dakota Johnson, and it looks sleek and modern, like a Beyonce video or a Calvin Klein commercial -- but it's an unpleasant experience with a sleazy stench that sticks in a way that E.L. James' novel doesn't.
  8. The movie works reasonably well at this for its first half, but by then we've pretty much figured everything out.
  9. Now The Matrix Revolutions is here, and a verdict is justified. The death penalty seems a little strong, but can we lock this franchise up and forget where we put the key?
  10. There's a lot of fascinating talk here and a genuine passion for ideas and words. But it's also a case where the messenger is so grating that we feel the perverse urge to kill the message that he carries just to spite him.
  11. It's earnest but shallow, and condescends to the youth market it's obviously designed for. [05 Mar 1993]
    • Portland Oregonian
  12. To my thinking, this splendid low-key bummer of a ghost story was eventually undermined by the film's increasing reliance on shock-scares, in which something suddenly and noisily jumps into the frame, over and over and over.
  13. For all the film's patness and lame predictability, Candy gives it a strange charm. He seems to be inherently funny, and his subtle weirdness, so useful on SCTV, is handy here as well. It helps make seeing Uncle Buck marginally worthwhile. [18 Aug 1989, p.E13]
    • Portland Oregonian
    • 38 Metascore
    • 50 Critic Score
    This is the sort of film that only makes sense as a rental, with, perhaps, a couple of friends and a very generously mixed pitcher of margaritas.
  14. While it's nice to see Reitman try to branch out from the hip, acerbic humor of "Juno" and "Young Adult," his clumsiness with this more earnest material is an unpleasant surprise.
  15. The plot is like a sudoku puzzle with all but one square filled in.
  16. There's not much of a spell to The Loss of Sexual Innocence, which is a shame, because anything this moody and pretty ought to be spellbinding. [16 Jul 1999]
    • Portland Oregonian
  17. Crowe is a commanding lead actor who could have made it into something special if he'd stayed out of his own way. Maybe he should have stayed home. You should.
  18. Hardcore genre fans may find some appeal in this warmed-over tale, but most viewers will be squirming in their seats even before the prolonged finale.
  19. Whatever the faults of Goya's Ghosts -- and there are several -- you've got to hand it to director Milos Forman: It takes real chutzpah to cast Randy Quaid as the king of Spain.
  20. It's possible to be dazzled by a movie and still not like it very much.
    • Portland Oregonian
  21. Mixed messages are the order of the day in the conflicted British drama Irina Palm. At first blush, it seems like another entry in the saucy-but-safe Brit genre, a la "Calendar Girls," "Saving Grace" or "The Full Monty," but it turns out to be both more ambitious and less successful than those diversions.
  22. Clumsiness follows clumsiness -- the acting, the staging, the details of the plot -- until you reach the point of cool indifference. There's a lot more wrong here than can be corrected in a small space in the newspaper.
  23. Bullock maintains a luster and comic naturalness that most actresses couldn't pull off in such mediocrity.
  24. Nicole Kidman and Daniel Craig are adequate leads, but no great actor will be more squandered this year than Jeffrey Wright, who does nothing but speak in vast paragraph blocks of exposition while looking haggard and bored.
    • 59 Metascore
    • 50 Critic Score
    The film equivalent of the blind date described as "really nice." It's neither bad nor good, just sort of earnest and well-meaning.
  25. Plays like a certain brand of indie film I hadn't seen in a while: the Self-Consciously Odd Journey of Self-Discovery Through the American Southwest, in which people learn Important Life Lessons while encountering "colorful" characters in small-town diners and motels amid the tumbleweeds.
  26. The pleasures of Buffalo Soldiers mainly come early on, before the film becomes a sloppy mixture of tones and story lines. Afterward, you're left mainly puzzled and looking for a way to wash a bitter aftertaste out of your mouth.
  27. If you like this sort of thing, this is the sort of thing you'll like.
  28. It's a shame The Matador isn't a better movie, because this semi-dark comedy contains one great, cackling, self-loathing performance by Pierce Brosnan.

Top Trailers