Portland Oregonian's Scores

  • Movies
For 3,213 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 A Girl Walks Home Alone at Night
Lowest review score: 0 M. Butterfly
Score distribution:
3,213 movie reviews
  1. Brimming with bittersweet wit and emotion and built with deceptively fluent craft.
    • Portland Oregonian
  2. It's a sports story, yes, because without baseball there's no Beane. But it's far more a tale of a man's triumph over himself and his doubters. And you don't need math to make sense of that.
  3. It may not be the most memorable saga put on film, but as far as Miike is concerned, it doesn't have to be.
  4. It's similar to 2011's "The Loneliest Planet," which examined a similar dynamic between a couple backpacking in the Caucasus Mountains. But Force Majeure (which, as a legal term, refers to unforeseeable events or "acts of God") is sharper and smarter, combining precision-strike storytelling, directorial art, and impressive, often invisible visual effects, including that avalanche scene.
  5. Audacious, gorgeous and unique.
  6. Spielberg manages to give us a Lincoln for our times, inspiringly heroic but demonstrably human.
  7. Amir Bar-Lev shows in the absorbing, eye-opening and sometimes enraging film The Tillman Story, if there was one thing that you could count on Pat Tillman to do it was speak his mind: loudly, intelligently, and often in salty, pointed language.
  8. Even the tiny roles in this Rockwell-meets-Breughel panorama are perfectly, although almost cruelly, cast.
  9. Boyle, one of the premier stylists in the world fills "Slumdog" with ebullient energy and ceaseless invention.
  10. An empathetic portrait of humanity on a house-by-house, heart-by-heart basis.
    • Portland Oregonian
  11. A truly powerful, masterful work.
  12. If film's rapturous reception is due in part to the rarity of filmmaking this skillful within the horror genre, it's hard to begrudge this near-masterpiece of unease any of the praise it's gotten.
  13. A kick to the heart, and Swank is a marvel. Any problems in the storytelling are more than balanced by her wholly committed work.
    • Portland Oregonian
  14. It is, in a way, the first glimpse of the cinema, right there at the dawn of humankind. And it is utterly remarkable to see.
  15. The story told by I'm Going Home is small and perhaps not terribly universal. But there's something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us.
  16. Demanding, harrowing and very, very real. You won't shake its impact easily.
    • Portland Oregonian
  17. Fans of European cinema will recognize in Barbara the calling cards of director Christian Petzold: the icy, quiet intensity of his muse, Nina Hoss; pretty but strangely unsettling shots of the windswept east German countryside; and subtle subversions of the thriller genre wherein the suspense is drawn from decisions made in mundane settings, such as the workplace.
  18. Ultimately, the story can be seen as the collision of two equally uncompromising belief systems, each its own form of fundamentalism. That neither benefits from the encounter should come as no surprise to anyone with the slightest knowledge of human history.
  19. As a study of a predator, "Evil" is fascinating and enraging.
  20. The period details are spotless, kindling memories of those days of yellow ribbons and nightly news updates on the fate of the American hostages.
  21. A stunning film.
  22. Almodovar loves the human flesh -- indeed, one of his films is titled "Live Flesh" -- and with the quietly subversive Talk to Her, he utilizes it not just as mere decoration but weaves with it textured themes of powerlessness, love and obsession.
  23. Difficult to sit through, Our Daily Bread is nonetheless an important record, invaluable for those with the courage to watch it.
  24. Anderson, god love him, seems determined to make the "Great American Film." The Master isn't it, but you come away from it with the sense that may be on the right path.
  25. Gives us a fresh way to think not only about movies but about the town in which so many of them are made, and in that regard it's kind of amazing.
  26. It's a remarkably sure-handed film, taking us with Shaun on a journey through alienation, anger, trepidation, ebullience and fear.
  27. It isn't in the same league as the director's best work, chiefly because it lacks the bravura flourishes of cinematic craft that helped make his name. But it's so vital and bloody and funny and wicked and tense and unapologetic that it feels kin to those films, which little of the director's work of the past decade has managed to pull off.
  28. An entertaining and fascinating film.
  29. A staggering movie about a reality so dark and painful and real that it almost crushes the mind to think about it.
    • 86 Metascore
    • 100 Critic Score
    Ernest & Celestine delivers a sweet message that should prove delightful to young and old alike. Though the premise makes it sound like it could be preachy, this cute children's story is anything but.

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