Portland Oregonian's Scores

  • Movies
For 3,355 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 5.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Rififi (re-release)
Lowest review score: 0 Welcome to Mooseport
Score distribution:
3355 movie reviews
  1. Slight on personality but long on music; Janis Joplin elevates it to near-great concert-film status.
  2. It is, in its quiet, precise, classical way, nearly perfect.
  3. A smart and engaging entertainment.
  4. Gosling, who was amazing in "The Believer" but hasn't yet connected substantially with a big audience, continues to impress.
  5. We laugh, yes, but we're touched, too, a delicate balance that the film manages again and again, right through to its bittersweet conclusion.
  6. Perhaps the most beautiful film to hit Portland movie screens this year.
  7. 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.
  8. 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.
  9. 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.
  10. Wilson's account is enormously self-serving and self-aggrandizing, but the film makes his ego a virtue and a running joke.
  11. One of the best children's movies in years. Spunky, inventive and filled with life and wonder.
  12. A handsome film, an earnest film, a film with taste in music and photography and a real sense of intelligence. But too often it feels like an exercise. And even when you're impressed by it, you know you're being played.
  13. The Host isn't just a terrific monster movie. This South Korean box-office smash is also a laugh-out-loud comedy and a surprisingly angry political satire.
  14. You can't help but share the feelings, many of them subrational, that coarse through the soldiers as they live a hellish year in a hellish place.
  15. An extraordinary thing, and one that I shall likely esteem for a long time. Philosophically, though, it's still mired in the primordial ooze in a way that will, I suspect, forever make me hold it at arm's length.
  16. Like the bits of home life its pioneers have brought with them to an alien landscape, the careful craft grounds the film in a reality that is as much felt as it is observed.
  17. As storytelling, it's extremely effective.
  18. Perhaps the most disturbing fact in the film comes in the text at the end: Paragraph 175 remained on the books in both halves of postwar Germany until the late 1960s.
  19. Aronson's intriguing, complicated and well-filmed documentary will keep you talking for days.
    • Portland Oregonian
  20. This combination of fatalism, nostalgia and willfully naive optimism captures something essential in the Russian soul.
  21. It ends on a random note, making an awkward plea for better ecological stewardship of the Earth, which looked so small and frail to the astronauts regarding it from the moon. But otherwise it's a satisfying and heartening reminder of what a glorious thing a small group of men once contrived to do.
  22. Children of Men has some magnificent moments of moviemaking and is thoroughly infused with just the atmosphere Cuaron has aimed for. But it's so streamlined in its storytelling and unvarying in its tone that it's more deadening than transporting.
  23. The film continually explores surprising, rewarding territory; even an erotically charged subplot dovetails nicely with themes of vengeance, mortality and renewal.
  24. But this is pretty honest and true filmmaking, nonetheless; try as you might, you can't detect the leer of the satirist.
    • Portland Oregonian
  25. Something in the simplicity of its vision gives The Man Without a Past a dimension of heroic grandeur -- and that effect, too, seems to tickle Kaurismaki's funny bone.
    • 84 Metascore
    • 67 Critic Score
    For those unschooled in Latin jazz, though, it might be best to just pick up the CD.
    • Portland Oregonian
  26. The characters and their situations, while perfectly credible and funny on the simplest literal level, surely add up to something like a subtly farcical apocalyptic satire. [18 April 1989, p.D4]
    • Portland Oregonian
  27. The story is ingeniously intricate but never gimmicky or implausible. As it develops, the suspense grows about what direction the story could possibly take next.
  28. Among the best of its kind, thanks in no small part to the utterly believable, vanity-free performance of Yolande Moreau in the title role.
    • 84 Metascore
    • 75 Critic Score
    This apocalyptic vision of London-as-Hell is a far cry from Leigh's earlier work, the relatively gentle social comedies, High Hopes and Life Is Sweet. But, working with the actors in his usual improvisatory style, Leigh dares to drop into depths he has never before explored. With its aura of horror and hopelessness, Naked is a very brave work. If you can take it, it's a film you won't soon forget. [28 Jan. 1994, p.AE13]
    • Portland Oregonian

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