Portland Oregonian's Scores

  • Movies
For 3,284 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 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Piano Teacher
Lowest review score: 0 Fair Game
Score distribution:
3,284 movie reviews
  1. The excellent news is that Yates and company took their time adding visual depth to the film -- they shot it as 3-D -- and the result feels immediate and real and not at all slathered-on.
  2. I reckon that for everyone who's enthralled by the film there will be others who wish they'd heard about it rather than seen it.
  3. It's as full and rich a portrait of the lives of athletes as we've seen since "Hoop Dreams."
  4. Anyone who shares Ebert's love of movies and who followed his career will be exceptionally moved by Life Itself, but anyone who appreciates a well-lived life should be touched as well.
  5. Brimming with bittersweet wit and emotion and built with deceptively fluent craft.
    • Portland Oregonian
  6. 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.
  7. Strickland has the courage of his convictions and maintains a tight focus on the proceedings while allowing the occasional feather of humor to float down on the pillow.
  8. It may not be the most memorable saga put on film, but as far as Miike is concerned, it doesn't have to be.
  9. 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.
  10. Audacious, gorgeous and unique.
  11. Spielberg manages to give us a Lincoln for our times, inspiringly heroic but demonstrably human.
  12. 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.
  13. Even the tiny roles in this Rockwell-meets-Breughel panorama are perfectly, although almost cruelly, cast.
  14. Boyle, one of the premier stylists in the world fills "Slumdog" with ebullient energy and ceaseless invention.
  15. An empathetic portrait of humanity on a house-by-house, heart-by-heart basis.
    • Portland Oregonian
  16. A truly powerful, masterful work.
  17. 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.
  18. 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
  19. 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.
  20. 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.
  21. Demanding, harrowing and very, very real. You won't shake its impact easily.
    • Portland Oregonian
  22. 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.
  23. 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.
  24. As a study of a predator, "Evil" is fascinating and enraging.
  25. The period details are spotless, kindling memories of those days of yellow ribbons and nightly news updates on the fate of the American hostages.
  26. A stunning film.
  27. 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.
  28. Difficult to sit through, Our Daily Bread is nonetheless an important record, invaluable for those with the courage to watch it.
  29. 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.
  30. Baker's previous films "Take Out" and "Starlet" have focused on populations generally treated with disdain by mainstream society -- illegal immigrants and porn performers, respectively. With Tangerine he continues to prove that by depicting these characters in all their flaws and majesty, movies can inspire awareness of our shared humanity. And make us laugh.

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