Portland Oregonian's Scores

  • Movies
For 3,105 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 Rififi (re-release)
Lowest review score: 0 Eban and Charley
Score distribution:
3,105 movie reviews
  1. After the initial charm wears off, the whole thing gets check-your-text-messages dull.
  2. An old-fashioned story of courage and self-sacrifice in the face of war and deprivation. It's also sappy, boring and obvious.
  3. Unlike its predecessors, this one doesn't even try to aspire to myth. It aspires only to merchandising.
  4. Grabs a fistful of hot-button story elements -- race, sex, politics -- and promptly mixes them into the thriller equivalent of tapioca.
  5. 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."
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Director R.W. Goodwin (an "X-Files" vet) makes a fatal mistake: He never takes a clear stance on the material he's spoofing.
  11. 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.
  12. 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.
  13. 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.
  14. A facile, feel-good fable that substitutes cliché for reality at nearly every turn.
  15. 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.
  16. It’s offensive, really, this blatant pandering to emotions.
  17. 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.
  18. fFat, dull drag.
  19. 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.
  20. 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.
  21. Brainless, witless, inept, ugly and crude,
  22. Time to retire OSS 117's license to kill before any more innocent people suffer.
  23. Eat Pray Love is magazine-spread self-help bullcorn with the highest possible production values, and I wasn't having any of it.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Kung Fu 2 does almost NOTHING to advance the story, to deepen the characters, or to charm, amuse or entertain.
  29. 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.

Top Trailers