Portland Oregonian's Scores

  • Movies
For 3,370 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 4.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Dahmer
Lowest review score: 0 Yu-Gi-Oh!: The Movie
Score distribution:
3370 movie reviews
  1. 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.
  2. 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.
  3. As a study of a predator, "Evil" is fascinating and enraging.
  4. Sorrentino’s storytelling sometimes seems deliberately obscure, and his film can be as indulgent as the society it chronicles. But as this existential odyssey draws to a close, it sews itself up with the aplomb that only a confident, controlled filmmaker can marshal.
  5. The period details are spotless, kindling memories of those days of yellow ribbons and nightly news updates on the fate of the American hostages.
  6. A stunning film.
  7. 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.
  8. Difficult to sit through, Our Daily Bread is nonetheless an important record, invaluable for those with the courage to watch it.
  9. 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.
  10. 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.
  11. It's a remarkably sure-handed film, taking us with Shaun on a journey through alienation, anger, trepidation, ebullience and fear.
  12. An entertaining and fascinating film.
  13. 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.
  14. Though excellent in many ways, American Beauty is, finally, an uneasy mix of assured technique and simplistic satire.
    • Portland Oregonian
  15. 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.
  16. 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.
  17. 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
  18. 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.
  19. It's no wonder that Polanski, himself an artist who has survived a series of nightmares, should tell it so naturally and powerfully.
  20. It's possible to be dazzled by a movie and still not like it very much.
    • Portland Oregonian
  21. If Song of the Sea had had the promotional muscle of Disney or Dreamworks behind it, it may have won this year's Oscar for Best Animated Feature instead of merely being nominated. It certainly would have deserved it.
  22. Amy
    It's a sad story, and Asif Kapadia's documentary tells it without narration or commentary. Instead there's a brilliantly edited succession of interviews and performances and news footage that glides through her charmed, doomed life.
  23. 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."
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. A diverting, playful and puzzling documentary.
  29. Within this simple structure, Panahi manages at once to celebrate and critique his nation's passions, sexual politics, sporting heritage, laws, morality and class system. It's a fictional feature but, like many Iranian films, it feels uncannily real, particularly in its final rousing minutes.

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