Portland Oregonian's Scores

  • Movies
For 3,110 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 Harry Is Here to Help
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
3,110 movie reviews
  1. 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
  2. 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.
  3. 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.
  4. Demanding, harrowing and very, very real. You won't shake its impact easily.
    • Portland Oregonian
  5. 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.
  6. 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.
  7. As a study of a predator, "Evil" is fascinating and enraging.
  8. The period details are spotless, kindling memories of those days of yellow ribbons and nightly news updates on the fate of the American hostages.
  9. A stunning film.
  10. 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.
  11. Difficult to sit through, Our Daily Bread is nonetheless an important record, invaluable for those with the courage to watch it.
  12. 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.
  13. 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.
  14. It's a remarkably sure-handed film, taking us with Shaun on a journey through alienation, anger, trepidation, ebullience and fear.
  15. 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.
  16. An entertaining and fascinating film.
  17. 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.
  18. Though excellent in many ways, American Beauty is, finally, an uneasy mix of assured technique and simplistic satire.
    • Portland Oregonian
  19. Brings you into a world you didn't know existed with a closeness that the movies almost never achieve. If that constitutes exploitation, then it's a crime which all works of art should aspire to commit.
  20. Ultimately, though, it's hard not to feel like Hou is saying more explicitly and expansively in nearly two hours what Lamorisse managed to convey in only one-fourth as much film.
  21. It's a relentless finale to the "Bourne" movie trilogy that raises the stakes, pumps up the action and develops old characters while introducing new villains
  22. It's a movie about having a sibling and all of the pain, joy, love and anxiety that that entails: a movie, in other words, for almost everyone.
  23. It's no wonder that Polanski, himself an artist who has survived a series of nightmares, should tell it so naturally and powerfully.
  24. It's possible to be dazzled by a movie and still not like it very much.
    • Portland Oregonian
  25. Akin is German-born but of Turkish heritage, and his films have often been concerned with the particular clashes and conflicts between those cultures. This film, though, does so in a much more oblique way than 2004's "Head-On."
  26. The film has a dreary, worn quality; much of it is set in winter in Buffalo, N.Y., after all. You know before long that the best you can hope for is that these folks won't kill each other or themselves.
  27. With evocative performances, especially from the two women, and a nicely modulated sense of nostalgia, Ilo Ilo marks the emergence of a promising new cinematic voice.
  28. Lebanon isn't as resonant as the haunting mix of autobiography and animation in "Waltz with Bashir," which dealt with the same war. Still, the film's fresh craft promises more from a director who turns the tiniest possible of settings into a sobering metaphor for the madness of a larger world.
  29. A diverting, playful and puzzling documentary.

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