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. 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.
  2. It's a remarkably sure-handed film, taking us with Shaun on a journey through alienation, anger, trepidation, ebullience and fear.
  3. 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.
  4. An entertaining and fascinating film.
  5. 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.
  6. 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.
  7. Though excellent in many ways, American Beauty is, finally, an uneasy mix of assured technique and simplistic satire.
    • Portland Oregonian
  8. 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.
  9. 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.
  10. 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
  11. 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.
  12. It's no wonder that Polanski, himself an artist who has survived a series of nightmares, should tell it so naturally and powerfully.
  13. It's possible to be dazzled by a movie and still not like it very much.
    • Portland Oregonian
  14. 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."
  15. 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.
  16. 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.
  17. 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.
  18. A diverting, playful and puzzling documentary.
  19. 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.
  20. Alas, while the verbiage bubbles, the plot slogs. You feel that there's a big pile of deleted scenes waiting to appear on the DVD -- and that a good bit of what's here should have joined it. Funny is good, but it requires sharp if it's to rise to true greatness.
  21. Slight on personality but long on music; Janis Joplin elevates it to near-great concert-film status.
  22. It is, in its quiet, precise, classical way, nearly perfect.
  23. A smart and engaging entertainment.
  24. Gosling, who was amazing in "The Believer" but hasn't yet connected substantially with a big audience, continues to impress.
  25. We laugh, yes, but we're touched, too, a delicate balance that the film manages again and again, right through to its bittersweet conclusion.
  26. Heart of Gold feels like an ample slice of the real America, the one truly worth caring for. And it's such a rare thing in this benighted age that the simple clarity with which it's presented feels like nothing less than a miracle.
  27. Builds into a moment of such gorgeous rocking that you truly lose yourself in some musical otherworld you never dreamed you'd reach in current films.
  28. 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.
  29. The film's final scene, which manages to recontextualize everything we've seen so far with a brilliant simplicity that, if further proof were needed, establishes Farhadi as one of the best storytellers in cinema today.

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